THE 



MANUAL OF TAKIGRAFY, 



ADAPTED FOR USE IN 



HIGH SCHOOLS AND ACADEMIES, 



WITH SOME 



EXERCISES SUITABLE FOR CHILDREN. 



By D. P. LINDSLEY, 

Author of "The Elements op Tachygraphy" and "The Note-Taker. 



CHICAGO: 

D. KIMBALL, P. O. BOX 398. 

BOSTON: OTIS CLAPP & SON. 

1876. 






Entered according to Act of Congress, in the year 1876, by 

D. P. LINDSLEY, 
in the Office of the Librarian of Congress at Washington. 



BY TBAtfSFEft 



JUN 13 *** 



R. K. McCabe & Co., 

PRINTERS, 

57 Washington St., Chicago. 



Blomgren Bros. & Co. 

Electrotypers, 

[50 & 152 Clark St., Chicago. 



i 



i 



PEEFACE 



This work is designed for use in the class-room by both 
teacher and pupils. It contains explicit directions as to the 
manner of conducting the lessons, with ample Reading and 
Writing Exercises, examples for drill, and tables showing 
the manner of joining the letters in all their combinations. 
These directions, tables and exercises are introduced in the 
order in which they are needed for use. 

The work is especially adapted for teachers of public 
classes, being arranged into lessons of a suitable length, 
with suggestions as to the mode of teaching sufficient to 
guide any careful instructor. 

The first lessons are, from the nature of the case, very 
simple, and equally adapted to children and older persons. 
To make the work throughout of use to those who wish to 
teach the art to children, the writing exercises, commencing 
with Lesson IV., are divided into twoj>arts — Part I. consist- 
ing of simple words for children, ahd Part II. of longer 
words illustrating the 'principles taught in the lesson. 
While the first part of the exercises are especially designed 
for children, it will be well for older persons to write both 
parts, as the simplest exercises are useful in learning an art 
in which everything is new. 

It is not supposed that the length of the lessons will be 
adapted to all classes. Some may be able to take two lessons 
at once; others may need to divide some of the lessons, and 
spend two sessions on them. Much will depend upon the 
length of the interval between the lessons. They are de- 
signed to be given at the rate of two or three lessons a 
week. 

3 



4: PREFACE. 

The principles of pronunciation and phonetic analysis, 
are left mostly to the teacher. It was beyond the design 
of the work to treat of such matters; but some miscellane- 
ous writing exercises are given, spelt as nearly phonetically 
as possible with our imperfect alfabet, which may be an aid 
to those needing instruction in the omission of silent letters. 
The Reading exercises will furnish examples of correct 
orthografy, and should be thoroughly studied. 

This work is not designed to take the place of the "Ele- 
ments," but to be used in connection with that work. It 
will furnish an excellent introductory course, to be followed 
by a course in the Elements. 

The style taught in this work may be known as the Lit- 
erary Style of Takigrafy. The Common, or Corresponding, 
style taught in the Elements differs from it only in the in- 
troduction of a few word- and- phrase-signs; the freer use of 
the circle in long words, and a more general omission of ob- 
scure and unimportant vowels. These two styles may be 
considered for all practical purposes as one, and no effort 
need be made to keep them apart, as the first will run into 
the other by insensible degrees. They may, however, when 
more fully developed, and used by larger classes of people 
than now, acquire greater distinctness. 

The author has developed in the following pages a plan 
of teaching which long practice has shown to be very effi- 
cient. While he has employed most of its features in his 
own teaching for many years, it will be found in some re- 
spects new to many teachers of the art. He wishes, how- 
ever, here to acknowledge his indebtedness to some teachers 
who have, from time to time, offered suggestions. The ta- 
bles of joinings, in particular, are given in more minute de- 
tail in accordance with the suggestions of Mr. Melvil Dewey, 
of Amherst College. 

The illustration of the work is by Mr. D. Kimball, of 
Chicago, executed by a process substantially his own, and 
which promises to render the art much service in this -way. 

i The Author. 

Andover, Mass., September 1, 1875. 



CONTENTS 



Sec. Page. 

INTRODUCTION, ..... 9 

PRACTICAL HINTS, 13 

LESSON I — The First Letters of the Alphabet, 15 

Drill No. 1, ...... 

Drill No. 2, 

Drill No. 3, . . ~ . 

Examples of Joining— Drill No. 4, 

Reading Exercise I, .... 

Writing Exercise I, . . 

LESSON II— Alphabet Continued, . . 19 

The Dash Vocals, 4 19 

Drill No. 5, ..... 19 

Drill No. 6, 20 

The Connecting Stroke, .... 5 20 

Reading Exercise II, ... . 20 

Writing Exercise II, ., ... 21 

The Letters The, Ith, Em, En, Ing, El, Ar, and Ma, 6 21 

Drill No. 7 - , 22 



1 


16 


2 


16 


3 


17 




17 




18 




18 



6 CONTENTS. 

Sec. Page 

LESSON III— Hooked and Variable Letters, &c., 23 

The Hooked Letters, . . . . 7 23 

The Short Vocals, .... 8 24 

Drill No. 8, ..... 25 
The Variable Consonants, . . . 9, 10 25 

Reading Exercise III, .... 28 

Writing Exercise III, . . . . 28 

LESSON IV— Alphabet Concluded, . . 29 

The Diamond-Points, . . . 11 29 

Drill No. 9, . . . . . . 30 

Disjoined Vocals, . . . . 12 30 

Reading Exercise IV, .... 32 

Writing Exercise IV. .... 33 

Drills No. 10, 10a and 11, .... 34 

LESSON V— Connection op Consonants, . 35 

Right, Acute and Obtuse Angles, &c, . 13 36 

Distinct Angles — Half Angles — No Angles, 36 

Facing Curves — Opposing Curves, . . 37 

Position of Outlines, . . . . 14 38 

Reading Exercise V, .... 39 

Writing Exercise V, 40 

LESSON VI— Explanation op the Drills, &c, . 41 

Drills No. 12, 13, 14, ... 43 

Drills No. 15, 16, 17, ... 45 

The Vocals i and a, Medial, . >. . . 1ft 46 

Reading Exercise VI, .... 47 

Writing Exercise VI, .... 48 



CONTENTS. 



7 

Sec. Page* 



LESSON VII— The Short Vocals, Medial-, 

Drills 18, 19, .... 

Drill No. 20, 

The Vocals oo, u, and o, Medial, 

Drill No. 21, 

Drills No. 22 and 23, 
Reading Exercise VII, 
Writing Exercise VII, . 

LESSON VIII— The Long Vocals, Medial, 

The Vocals .#, Ah, A, Medial, . .18,19 

The Vocals Oo, O, Au, Medial, . . .20 

Syllabication, . . . . . 21 

Drills No. 24 and 25, 
Drills No. 26 and 27, 
Reading Exercise VIII, 
Writing Exercise VIII, 

LESSON IX — Duplicated and Variable Letters, 

The Diamond-Points, Medial, ... 22 

Vocals Joined with other Vocals, . . .23 

Duplicated Consonants, ... 24 

Variable Letters, . . . . .25 

Drill No. 28, . . . ' . 

Reading Exercise IX, 
Writing Exercise IX, 

LESSON X— Consonantal Diphthongs, 



Wh, qu, gu, dw, &c, 
The L- and R-Series, 
The Semi-Diphthongs, 
Table, and Drills 29^0, 31, 
Reading Exercise X, 
Writing Exercise X, 



49 

50 
51 
51 
52 
53 
54 
55 

57 

57 
58 
59 
61 
62 
63 
64 

65 

65 
65 
66 
67 
69 
70 
71 

73 



26 


73 


27 


73 


28 


75 




77 




78 




79 



CONTENTS. 



Sec. Page. 



LESSON XI— The S-Series, 



81 



The S-Series, Initial, 

The S-Series, Final, 

S, followed by the L-and-R-Series, 

The Circle with Obscure Vowels, 

Table of Joinings, 32, 33, 

Reading Exercise XI, 

Writing Exercise XI, 



29 


81 


30 


82 




83 


31 


84 




85 




86 




87 



LESSON XII— Vowels in Unaccented Syllables, 



Obscure Vowels, 

The Terminations iar, ier, ion, ior, ue, ure, &c, 

Variable Letters, .... 

Tables 34, 35, 36, . . . 

Reading Exercise XII, . 

Writing Exercise XII, 



32 


89 


33 


90 


34 


91 




92 




93 




95 



CONCLUDING LESSON, . 



97 



Double Consonants, .... 

The Terminations ly, less, ness, &c, 

Final ed, . . . . . 

The Aspirate and the Subvocal, 

Ing, nj, and En-ga, ..... 

The Old Spelling, .... 

Table showing the Sounds of the old letters with 

their appropriate Takigrafic Signs, 
The New Spelling, .... 

General Writing Exercise, . 
Additional Reading Exercises, . 



35 


97 


36 


99 


37 


99 


38 


99 


39 


100 


40 


100 




107 


41 


108 




110 




116 



INTRODUCTION 



The style of writing taught in these pages is not a sten- 
ografy, but a full and plain system of writing, just as per- 
fectly adapted to all literary and business purposes, as the 
common method of writing, while it is vastly briefer, and 
more rapid in execution. It is incomparably more accurate 
and full in its representation of the language than any other 
short-hand system ever published. In this respect it stands 
alone, and cannot be compared with the Stenografies and 
Phonografies whose principal design and use is to aid the 
labors of professional verbatim writers. And yet this style 
is made the basis for, and introduction to, the best system of 
Reporting contractions in use — one which has been found 
successful in many kinds of reporting for a period of ten 
years past. 

This style is, however, unlike the preliminary styles of 
other systems, an end in itself, and designed to be largely 
used by those who hav no wish to go beyond it into a still 
briefer style. And for this reason it appeals strongly to 
those who have heretofore neglected short-hand, under the 
impression that it was not adapted to their work. It is now 
adapted to all kinds of writing, and to all classes of people; 
and is now actually employed by all classes and for nearly 
all purposes. Persons of all professions — lawyers, physi- 
cians, clergymen, and men in every trade and pursuit, and 
women and children — young and old, all find it easy to 
learn, easy to remember, and easy to read. It has already 
found its way into most parts of the country, and is gaining 
in influence and usefulness continually. 

9 






10 INTRODUCTION. 

And yet this success has been far less than it should have 
been. The art properly taught is capable of doing much 
more than it has yet done. While the rate of speed gained 
by the use of the system in its simplest form will average 
higher, if taken throughout the entire circle of its cultiva- 
tors, than that of any other system, yet it has fallen below 
the capabilities of the system. The value of careful and 
systematic drilling has not been understood even by the 
teachers, and those who have taken up the art without in- 
struction have generally worked to great disadvantage. 
We cannot hope for the art to take the high place in public 
estimation which it deserves, until skilful teachers shall in- 
troduce it into our schools and larger towns, and by a well- 
devised scheme of manual drills develop its power and show 
its capabilities. 

With the design of preparing the way for such work this 
treatise has been prepared. It contains minute directions 
in regard to conducting classes, and abundant examples for 
drill and illustration. And yet there will be scope for the 
exercise of invention on the part of the teacher. The hints 
here given are designed rather to open the way for true 
teaching, than to hamper the teacher with a stereotyped pro- 
cess. The teacher must adapt himself to the class and the 
occasion. No written instructions can be equally well 
adapted to all grades of pupils. Some will need much repe- 
tition and illustration; others will grasp the principles at a 
glance. But in one respect all will be found to need the 
same exercises. No success can be gained without careful 
drilling on all the combinations of letters, as well as the 
letters themselves. In this all can be brought upon com- 
mon ground. Here the teacher must stand, and fight it out 
on this line if it takes the entire term. He must not be 
afraid of repetition. He should bring up his class to writ- 
ing the entire alfabet within fifteen seconds ; and proceed from 
this to the joinings of the vocals with the consonants, the 
consonants with each other, and finally of consonants with 
the intervening vocals of all classes. All this may be car- 
ried on together. It will not do to devote all the attention 
to the alfabet until the highest rate of speed is reached, but 
devote ten or fifteen minutes each day to the alfabet for 



INTRODUCTION. 11 

three weeks or a month if necessary, interspersing these 
exercises with drilling on the joinings of the letters. 

The reading also will need attention. -Skill in reading is 
not likely to come by accident. The pupil must practice 
reading statedly and persistently, and read his lesson aloud, 
until he can read it fluently. Some persons need to spend 
nearly as much time in reading as in writing. It is a fault 
with some persons to prefer either the reading or the writ- 
ing, and to succeed well only with that which they study 
most. Hence one pupil will be found to read very easily 
and to write indifferently; another will write well but read 
slowly. This is generally owing to some partiality in the 
method of study, and the pupil should correct it, and devote 
for a time the most attention to that in which he is most 
deficient. 

With these few suggestions the work is offered to the 
teachers of our beloved land, in the hope that many of them 
may find it an aid in their work and of service to the pupils 
under their charge. Let them consider that the measure of 
success gained by the art will depend almost entirely upon 
their skill in imparting it. If they explain it never so clearly 
on the blackboard, and leave their pupils to write in any 
manner they choose, without correction of exercises, the in- 
struction will amount to very little. The work of teaching 
has many sides, and all are important. If anything is 
neglected, the deficiency will appear in a want of the high- 
est measure of success. And two things may be mentioned 
as more important than others: Drilling and the Correction 
of Exercises. Without drilling no great degree of rapidity 
will be likely to be secured, and without the correction of 
exercises no great degree of accuracy can be looked for. 
The reading may be picked up without so much attention, 
but a careful correction of well-prepared exercises, and a 
comprehensive series of drills, are the keys to accuracy and 
dispatch in writing. There is one other condition of suc- 
cess, and that is, faith in the style — not faith in the system 
of Takigrafy merely, but faith in the practical utility of the 
simplest form of it. Each style should be taught by those 
who use it. This style should be taught by those who do their 
own writing in it, or who go no further than the Elements. 



12 INTRODUCTION. 

If taught by those who are writers of the Note Taker's or 
Reporting styles, the chances of any fair measure of success 
are lessened. The teacher must have skill in the style 
which he teaches. 

Nothing has, heretofore, been a greater hindrance to the 
introduction of the art than the mistaken ambition of its 
teachers, who, because a very few of their pupils wish to 
become reporters, feel called upon to dabble in that style, 
and so mix and confuse their writing that they are fit for no 
kind of service. It is much more honorable and more use- 
ful to be good teachers of the first principles. It is much 
better for each teacher to cultivate one style, and only one, 
and turn over such pupils as wish to make the art a profes- 
sion to those devoted to that work, than to waste time on 
the eifort to cultivate two or three styles at once. Let there 
be at least two grades of teachers: the first devoted to the 
Literary and Common styles; the other class devoted to the 
Note Taker and Reporting styles; and let the first grade 
be considered the higher of the two, for it is really higher. 
It is more honorable to teach the members of our learned 
professions, and the fathers and mothers of the great and 
good men of a coming generation, a style of writing adapted 
to their wants, than to instruct a few youth whose highest 
ambition is to be the gatherers of newspaper intelligence, 
or the servants of courts of law, or of a railroad or mercan- 
tile firm. These occupations are useful and honorable; but 
they have no such exclusive claims to respectability as to 
make their interests outweigh the interests of thousands of 
persons in other pursuits who need a simpler style of writ- 
ing. That certainly is the most honorable that benefits the 
greatest number; and the spirit which leads so many teach- 
ers of Takigrafy to neglect the interests of the many for 
contractions and stenografic devices of use to but very few, 
is certainly one not to be encouraged. 

When the art is able to secure teachers fully trained for 
their work, and those whose ambition lies in seeking the 
greatest good of the greatest number, it will assume some- 
thing of the importance its usefulness merits, and the suc- 
cess that all so much desire. 




BA/f£ft-/'0 



PEACTIOAL HINTS 



This cut* shows the manner of holding the pen when writ- 
ing Takigrafy, though for long- hand writing the usual 
method is preferable. The pen should be adroitly turned 
so as to favor the smoothness of the stroke. This should 
be attended to by the teacher, as no further direction can 
be given here, except that both sides of the pen should 
press equally upon the paper. 

The writing exercises should be written by the pupil on 
ruled paper, and every other line left vacant for correction 
by the teacher. They must be written with pen and ink 
(pencil work is worth but little), and corrected by the teacher 
with ink of a different color. Then after the pupil receives 

* Taken by permission from "Hill's Manual of Social and Bust- 
ness Forms," Moses Warren & Co., Publishers, Chicago. 

13 



14 PRACTICAL HINTS. 

them back, he should go over them twice; first to correct 
the errors, and next to make a complete copy of all parts of 
the exercise, which may be done on the same paper. After 
this the exercise may, with advantage, be read to the pupil, 
and he may rewrite it as many times as necessary to secure 
a fair degree of speed and accuracy. Writing from dicta- 
tion should be commenced very early in the course; indeed, 
it may begin with the first lesson. The alfabet may be dic- 
tated to the class, and they may learn to write the first part 
of it with rapidity in this way before the rest of it is com- 
mitted to memory. The teacher who fails to drill his pupils 
by dictating exercises, or by seeing that the dictation is 
done by some one else, need not look for very speedy re- 
sults. Every new principle, and every fresh combination 
of letters will furnish fresh matter for drill, and most of the 
drills may be turned into dictation exercises. There is great 
advantage in having several pupils work together, for the 
teacher cannot be expected to find time for much dictation. 
The exercises he must correct, and do it faithfully; but the 
dictation, after the teacher has taught the proper methods, 
must, in most cases, be left either with the class, or with 
some assistant. If left with the class, they should meet for 
the purpose in circles of a half dozen or more, and while 
one reads the exercise, the rest may write; and in this way, 
by each taking their turn, all may be benefited. Where 
this cannot be done, the student who wishes to make good 
progress in gaining speed, should enlist the services of some 
friend, or employ some one for the service. 

Other suggestions will be found in the Introduction, 
which should be carefully read, and followed. Much has of 
necessity been omitted, that might with propriety be said, 
but these hints and suggestions, in the hands of a judicious 
teacher should lead to success — to even a great measure of 
success — in the practice of the art. 



THE 



MANUAL OF TAKIGRAFY, 



LESSON I. 
1. Put upon the blackboard the following letters: 



b p g k d t 

The names of these letters are: Be, Pe, Ga, Ka, De, 
Te. They represent the sounds of these letters as heard 
in bib, pip, gig, hick, did, tit. 

a. These letters are arranged in pairs, heavy and light. 
The proper shading should be observed. 

b. It should also be noticed that the first two are written 
perpendicularly; the second pair inclined to the right at an 
angle of 45 degrees; and the third horizontal. 

Remakks. — 1. After the class has learned the forms, directions, 
names and sounds of these letters, they should put them upon pa- 
per, as dictated by the teacher, using pen and ink. 

15 



16 



THE MANUAL OF TAKIGRAFY. 



2. The following will be found to be a convenient method of 
drill. Let the class write the following, as dictated by the teacher: 

DRILL NO. 1. 




3. This kind of drill should be repeated until the letters are 
thoroughly mastered. The amount of time necessary to be spent 
in this way, will differ with different classes ; but the pupils should 
be encouraged to practice privately on exercises of this kind. 

2. Put upon the blackboard the letters: 



v f zh sh z s 

The names of these letters are: Ve, Ef, Zhe, Ish, Ze, 
Es; and their sounds are heard in the words: Van, fan, 
azure, shun, zone, sun. 

a. These letters are curved of the quarter of a circle. 
In direction and grouping they resemble those already 
learned, and may be memorized in the same way, as follows: 



drill no. 2. 



<(•' (( 



repeated as before. 

b. The letter Q, as heard in azure, is a simple sound, 
though having no letter to represent it in the common mode 
of spelling. It is the vocal sound of H, as heard in show. 



LESSON I. 



17 



3. "When these letters are learned the long vowels may 
be introduced, as follows: 



E A Ah Oo O An 

The names and the sounds of these letters are the same. 
They are heard in Eel, ail, are, ooze, owe, awe. 

a. DRILL NO. 3. 




b. The Q Q| are half circles, and the first admits 
of variation to accommodate it to the consonant to which it 
is joined, as follows: I I. When they precede a con- 
sonant they must form an angle with it, so as to be distin- 
guished clearly; but on the end of a letter Ah may form a 
hook, if more convenient. 

c. Examples op Joining. 

drill no. 4. 




18 THE MANUAL OF TAKIGRAFY. 

Rem. — The examples given above represent syllables only, but 
the following reading lesson is composed of familiar words, which 
should be read by the class, and in the case of younger pupils,, 
they may be copied into long-hand as a test of the accuracy with 
which they are read. 

d. READING EXERCISE I. 




e. WRITING EXERCISE I. 

Notice that, in writing Takigrafy, all silent letters are omitted. 

Eke, ache (ake), key, gay, day, see, say, tea, eat, fee, eve r 
ease, she, shay, pa, ape, pay, bee, pea. 

Rem. — 1. In writing this exercise the pupil should use a pen 
and ink, and ruled paper, leaving every other line blank for the 
teacher's correction; or, better still, leave two lines blank under 
each line written on, the first for the teacher's correction, and the 
second for rewriting, after the exercise is corrected. This plan 
should be followed with all subsequent exercises. 

2. This exercise may be given out to be written by the pupil in 
private, and should be handed in for correction before the next les- 
son is given. 

3. Any one who studies this work without a teacher, should set 
himself the same exercises, and write, read and correct them with 
the same care that he would be expected to do if following the ad- 
vice of a teacher. He must even be more faithful, if he wishes to 
succeed. 



LESSON II. 



Review the preceding lesson throughout, and see that it is 
thoroughly understood ; then proceed with 

THE JOINING OF THE DASH VOWELS. 

4. Rule. The Dashes are joined only when they form 
a definite angle with the consonant letters. Where they 
do not, they are disjoined; but to aid the joining, the fol- 
lowing principles should be observed: 

I. Q may be changed to Q when the latter form is 
more convenient; and Q, which is generally written down- 



ward, may be written upward before I M 7 and after 



lerany writ 

IdOD 



II. The dashes are joined to the straight lines with 
any angle; but the right and acute angles are preferred. 
On the inside of curves they are joined only when they 
form an acute or right angle. 

III. Q is never varied in direction. 

a DRILL NO. 5. 



19 



20 



THE MANUAL OF TAKIGRAFY. 



Joinings of the Dash Vowels. 



DRILL NO. 6. 




O. THE CONNECTING STROKE. 

The vowels Q and Q may be joined with a connect- 
ing stroke in some cases. This connecting stroke is gen- 
erally perpendicular to the letters joined, and should be 
made as brief as possible. 

Examples: H 

aid ace each fay 



a. 



READING EXERCISE II. 




LESSON II. 21 



0. WRITING EXERCISE II. 

« 

Bow (bo), Poe, go, co, dough, toe, foe, show, so; paw, caw, 
daw, aught, awed, off, awes; show, saw, coo, do, too, shoe, 
ooze. 

JBee, bay, pea, pay, pa, pooh, paw; gay, go, hey, coo, caw; 
day, do, dough, daw; tea, too, toe; fee, foe; she, shay, shoe, 
show, shaw; see, say, so, saw; aid, ace. 

Rem. — This writing exercise may be given out to be written 
before the third lesson ; and the following explanations and drill be 
added, to aid the class in learning the remaining consonants. 

6. Put the following letters on the blackboard: 



th th m n 



ng 1 r ra 



Their names are: The, Ith, Em, En, Ing, El, Ar, Ra. 
Key words: Than, thin, me, no, sing, ail, air, ray. 



a. The f Q and |Q represent the sounds heard in the 
words then and thin; and correspond to one another as the 
sounds of d and t do, — then corresponding to den, and thin 
to tin. They are distinguished by being made heavy and 
light, as [ J and gjjg| are - 

b. The letters J J and J J[, though resembling one an- 
other in form, are not related in the same way as the other 
pairs of consonants are. They are not formed by the same 
action of the organs of speech, but resemble each other in 
both being nasal sounds. 

c. The letters I I have no corresponding 
signs for vocal sounds. The light lines represent both the 



22 THE MANUAL OF TAKIGEAFY. 

vocal and the whispered sounds, so far as they are recog- 
nized in the English language. 

d. Q and j j may be written either upward or 

downward. The first two are the same in form when written 
upward as downward; but Q is struck downward, with an 
angle of 30 degrees from the perpendicular, and upward at 
an angle of 50 or 55 degrees. 



drill no. 7. 



> ft IN 



A -N 7\ ft 



These should be written in drilling with repetitions and 
variations as given for other letters in Lesson I. 

Rem. — 1. Pupils should be directed to spend ten or fifteen min- 
utes each day in drilling on the alphabet, for the purpose of 
gaining accuracy and speed in its use ; and they may also with ad- 
vantage practice on long-hand exercises for the purpose of giving 
play to the muscles and training them for rapid writing. 

2. All the exercises given in this lesson may be put upon the 
blackboard, and recited in concert by the class, or individually; 
but class exercises should never be allowed to take the place of cor- 
rection of the faults of each pupil separately and minutely, in writ- 
ing. Blackboard exercises, though useful for the purpose of ex- 
planation and illustration in the class-room, should not be put in the 
place of written exercises. The pupils should bring their pens and 
paper into the class-room, and write exercises as dictated, and be 
taught how to hold their pens, and in what way they can gain the 
greatest facility in writing. 

DRILL. 

Students should drill on the alfabet, and the connections of the 
vowels as given in Sec. 4. 



LESSON III. 



Rem. — 1. Review the alfabet from the commencement, and see 
that every pupil is familiar with the letters already given. 

2. Review the principles of the preceding lesson, and Reading 
Exercise II. 

7. Put upon the blackboard, and explain the following 
letters: 



w j h j 



ch 



Names: Wa, Ya, Ha, Ja, Cha. Key words: We, 
■you, he, edge, etch. 

a. In writing these letters the hook must be made first. 
B and I J have the same direction as | 9; and I I re- 

sembles I I in everything except the hook. 

b. In making I 5 care must be taken to make the hook 
sufficiently inclined to be parallel with the stem. This will 
prevent the tendency to make the hook into a circle. 

c. 9 and I 9 are always written upward. 



Rem. — All these letters will need the drill described in the 
previous lessons for other letters. For the process of drilling see 
Xessons I. and II. 

23 



24 THE MANUAL OF TAKIGBAFY. 

THE SHORT VOWELS. 

8. The short vowels are: 



% e a oo u o 

Key: It, et, at, oot, ut, ot. 

These sounds occur only immediately before a conso- 
nant, and should be practiced on in this connection. 

a. The vocal || may be struck either upward or down- 
ward, and has two sounds; as in the words on and or. The 
latter sound occurs before the letter r, and in a very few 
cases before d and g; as in the words God, log, dog. 

b. | has the same variations as Q; and £| and Q are 
treated in the same way as Q and Q, before described. 

Rem. — Q and Q| each represent two sounds, or perhaps two 
varieties of the same sound. Final y difers somewhat in quality 
from i when preceding a consonant. In the word pity, for example, 
the sound of the i is more explosive than that of the y. So in the 
word ability, the first i has a shorter sound than the last two vowels. 
In the words at and ask, we have two varieties of the short " a " sound. 
These varieties are not distinguished in the ordinary writing of 
Takigrafy, as distinctions so minute would be found troublesome 
to many persons; but the o in on may be distinguished from the o 
in nor, in some cases, by writing the sign for the former sounL 
upward, and the sign of the latter sound downward. This is a natu- 
ral and proper distinction; for the o in nor is allied to the Au, while 
the o in on is a much shorter and more explosive sound. But this 
distinction cannot always be made, as the direction of the vocal is 
often determined by the convenience of its use in the word-form. 



LESSON III. 



25 



Joinings of the Short Vowels, 
deill no. 8. 



f f V\ ^_-_ ) ) — — '-*S "S ' :f 


«_. K^ J ^ ,<W~«__. 'iKX'-V 


^ •) ) <■{ X^ tn.S r- ^-^ 


^ ^ ^ ■■■ci. : it win x 


.'^ <~ -^ ;«m :. /" ' — * -— 'J ^•^-«—. 


-\ i ^^ : -_'^ -)) X \ ' ^ U >!' 


^_ y- ,-w -^ ■> 7 ---- . .1 VS. 


v ul - > U I ^ ^S-S.V 


■ __ ^ ^ i_ C. . 1 1 x.< ';:<- i— o 


T f^ <~ -^v r-^ 7 /^ -<— ^-. 



THE VARIABLE CONSONANTS. 



9. The letters j Q may be inverted, thus 
The names of the inverted letters are: Tha, ath. 

a, IJH | are used before Q. after £H an( ^ both before 
and after 



Examples. 



26 



THE MANUAL OF TAKIGEAFY. 



But the insertion of a vowel that takes g Q after it, will, 
of course, change the direction of these letters, as in 




b. Before and after other letters B M are used; except 
that in a few cases, either form is equally convenient. 

Examples. 



Rem. — It will be observed here that one simple rule applies to all 
cases where I I are inverted on account of their connection 
with other curves, and that is, that they turn so as to face the same 
way as the curve to which they are joined. Where two curves join 
it is generally more convenient that they face the same way; and 
where any change of form is allowable, it is made with this prin- 
ciple in view. 

c. As the letters | | may be written either 

upward or downward, they may be joined either to the 
or the B H, as follows: 



Rem. — The student is not expected to commit these details to 
memory. They will be readily learned by their use in writing, if he 
have the advantage of the correction of his written exercises, as 
given hereafter. 

10. The letters ] | may be written either 

upward or downward, and their directions are determined 
by convenience, in accordance with the general principles 
of Eugraphy. (See Rem. 2 below.) 



LESSON III. 



27 



a. The 

after H and 



is written downward after Q, and upward 
as in 



b. fffl is written downward before £ Jf and Q, and after 
99; and upward after Q. In most other cases its di- 
rection is determined by its relation to the consonant out- 
line of the word. 

^Examples. 



c. The direction of 28 * s chiefly determined by the na- 
ture of the angle, the acute being preferred to the obtuse, 
as in 



Rem. — 1. Other principles enter into the direction of these let- 
ters, a full discussion of which will be deferred until a subsequent 
lesson. 

2. Eugrafy is the science of correct word-forms. Its principles 
are based on the laws of motion, and the natural harmony growing 
out of the correct joining of letters, whose angles and directions are 
most conducive to beauty of form and ease in writing. 



28 



THE MANUAL OF TAKIGRAFY. 



READING EXERCISE III. 




WRITING EXERCISE III. 

Though, oath, thaw, the, thee, they; aim, all, eel, nay, 
way, hay, away, ray, me, may, mow (mo), lee, law, lay, 
low/ he, we, you, who, each, cheer, age; edge, etch, egg, ebb; 
up, upon, us; if it, is, in, into, unto; off, on, odd, or, at, 
add, an; end, elder, elk, elf, and, ant, envy; either, neither, 
ether, zero, eazy, busy, rosy, pozy, hazy, daisy; to, too, two, 
this, them, their, then, that; old, told, fool, full, jem, judge, 
church. 



Rem. — The is distinguished from thee by making the vowel light 
in the and heavy in thee ; and to is distinguished from too and two in 
the same manner. 

DRILL. 

The joining of the short vowels. Drill No. 8. 



LESSON IY. 



THE DIAMOND POINTS. 



11. After reviewing briefly the principles given in the 
preceding lessons, put upon the blackboard the remaining 

letters : 



/ Eu Oi Ou 

Key words: High, hew, hoy, how. 

a. These letters represent difthongal sounds. The ele- 
ments that form the Q and Q coalesce so closely that they 
cannot be resolved very easily; but Q is composed of | 
and fl. and Q of Q and S3; which signs are united in their 
formation with such variations of. form as are necessary for 
convenience in writing. 

b. In joining these letters either or both sides may be 
curved outward, giving rise to the following possible va- 
rieties of form. But it should be borne in mind that the 
curved forms are quite as natural, and quite as proper, as 
those given in the alphabet. 



VARIETIES OF 



, H AND Q. 



29 



30 



THE MANUAL OF TAKIGRAFY. 



C. 



No rules need be given for their use, except the gen- 
eral rule that that form is employed which makes the best- 
angle with the letter to which it is joined. Their use will 
be seen from the following table: 

Joinings of the Diamond Points, 
drill no. 9. 



1 


I 


w -, 


, — 


, \ 


X 


u~,^ 


> 


A 


r^ wv 


_y 


'■>*. 


Cs- 


/V ^ < c 


I 


I 


Sw \a _ 


A 


a J\ 


\ 


c U — — 


~s« 


X 


r* £* 


_y 


* *?. 


1/ 


* M-{k*i-*-~-* 


I 


I 


% X - 


z^ — 


. 1 


I 


i\ ^ : &\ 


.V 


K 


r? v^ 


*>? 


S* u 


<f- 


<J ^ i-i "w 


1* 


i 


Ny \y — 


-J - 


— A lr 


X 


C c Si ^ 


^ 


A, 


: r~* s*> 


' : lyi 


S- c*> 


s~* 


S*?^^ 



<£. It will be observed that Q after £ J and 

is turned into the direction of Q; but it is sufficiently 
distinguished from it in being made light, while the last 
part of H i s shaded. 

e. When followed by the consonant, the same principles 
of joining are followed, sufficient examples of which will be 
given in subsequent Heading ^Exercises. 

disjoined vocals. 

12. The dots Q and j| are always disjoined, and 
nearly all the other vowels are disjoined in some instances. 



LESSON IV. 31 

Those most frequently disjoined are the dash vowels 
3 , and next in order of frequency of omission come 
the other vocals: 



a. When a disjoined vocal is to be read before a per- 
pendicular or inclined letter, it is written on the left of it; 
if after, on the right. If read before a horizontal, it is writ- 
ten above; if after, below. 

Examples, 



b. Q] are placed near the middle of the consonant to 
which they belong. The other disjoined vowels are placed, 
for the most part, near the end of the consonant. 

Examples. 




c. When || and || occur between two consonants, the 
heavy dot goes with the former, and the light dot with the 
latter; as in 



d. Some regard to syllabication should be paid in the 
use of disjoined vocals. In a word of two or more syllables 



32 THE MANUAL OF TAKIGKAFY. 

the disjoined vocal should be placed with the consonant of 
the syllable to which it belongs; as in 




Rem. — 1. Disjoined vocals are never placed in the corner be- 
tween two letters ; and the law of syllabication admits of exception 
in the case of the word father, given above. 



The pupil should devote some time each day to drilling — 1st. On 
the alphabet; 2d. The joinings of the vocals with the consonants. 
The alphabet can be written through (consonants and vocals) within 
fifteen seconds, and the ib, eb, ab, oob, ub, ob series at the rate of one 
hundred syllables a minute, or even faster than this. This drilling 
should be continued, a little each day, until this result is reached. 

READING EXERCISE IV. 




LESSON IV. 33 



WRITING EXERCISE IV. 

By, bow (bou), boy, pie, pew, cue, coy, cow, die, dew, tie, 
toy, fie, few, vie, vote, shy, sigh, sue, thy, thou, my, mew, mow 
(mou), nigh, new, now, lie, lieu, rye, rov: (rou), high, hew, 
hoy, how, jew, chew, joy, chow-chow. 

Air, fair, care, pare, chair, tare, bear, ferret, merit, bell, 
tell, well, pet, get, deck, bed, peg, reck, neck, peck, red, wed, 
head, net. 

Far, farm, father, faith, vase, face, food, boot, but, put, 
nob, rob, tub. 

Took, hook, book, good, could, would, should, run, tun, 
fun, bun, done, one. 

News, noise, sight, fight, right, light, tight, lute, lout, shout, 
pout, coin, oil, coil, our, power, tower, sour, shower, sure, 
pure, lure. 

Sigh, sign, find, mind, wind, kind, pine, tine, mine,vnne y 
vine, found, bound, pound, mound, sound. 

PART II. 

Is it so? So it is. This is right; that is wrong. Ton 
should do this. Men may say they do not see; but it is easy 
to say so. Some come; some go. Seek peace; make peace. 
The sight of the eyes. The ways of life. It is not well to 
beg. Let him hang the hat on a peg. The book is in his 
hand. The maid is coy. That boy is bold. See that you 
mind your book. Be kind to the old. Love those that hate 
you. 

She went to town. They all left at the same time. The 
lad had no guide. Fight the good fight of faith. No man 
may put off the lavj of God, 



34 



THE MANUAL OF TAKIGKAFY. 



Drills foe Peactice on the Joining of Consonants. 
[See Lesson VI.] 



mn 



! I ( XS\ 



\W\\\ 



mm 11)115 hm 



t/<SoS <f 



LESSON V. 



CONNECTION OF CONSONANTS. 



13. All the consonants in a word, and such vocals as 
can be joined conveniently, are united into one outline. 
When consonants are joined without intervening connec- 
tive vowels, the following specifications may be found 
useful: 

a. Curves, when repeated, always form angles; but 
straight lines are repeated by making the line double length. 
So also { 2 is added to Q| and [gjf. and [ | and { J to 

\ and Q £ by merely lengthening the stems. 

Rem. — Two Be's or Pe's are distinguished from a large Q or Q by 
their position in regard to the line of writing, — the first H or II 
resting on the line, and the second running below it ; but two De's 
or Te's can be determined only by their length. 



Examples. 




36 



THE MANUAL OF TAKIGRAFY. 



b. As each consonant has a given form and direction, its 
union with Other consonants is according to fixed mathe- 
matical laws. Angles formed by the joining of the straight 
lines may be classed as right, acute, or obtuse. They may 
be grouped as follows: 



<2 RIGHT L- U 

O ACUTE >1>U< 
< OBTUSE L:^ 



c. When straight lines unite with curves they form either 
distinct angles, half angles, or no angles. 

DISTINCT ANGLES. 




HALF ANGLES. 



^V.WN^/S; 



w-mm 



NO ANGLES. 



LESSON V. 



3: 



Rem. — Practically, half angles are not regarded in writing, but 
the letters in this class are run together as freely as those in the 
last class. 

d. Curves unite with other curves, with angles of various 
degrees, and frequently without angles; but the most im- 
portant distinction made in the manner in which curves 
unite, is that of facing and opposing curves. Facing curves 
are struck without reversing the movement of the pen; but 
opposing curves can only be so struck when they unite with- 
out an angle. 

FACING CURVES. 



1 1 H 


% 


-m 


A 


ys 


:u 6 


1 : 




■---— ":---r> 


B 


•; v "5? 


% 


bfe> 


-% 


-In 


;^;i 


; yQ 


7 


>H 


r- 


-y~ 


:< r ^ 


-v__ 


Sj 


c a 


~ 


f r< ; 


y^ 


W> 


y J\ 


sfe 


hi 



OPPOSING CURVES. 




Rem.— 1. When light and heavy characters unite without an 
angle, they join without abruptness, blending their difference of 
shading by imperceptible degrees. 



38 THE MANUAL OF TAKIGRAFY. 

2. Facing curves unite without any angle when like HE and 
their general direction would make a right angle ; but Q Q an< i 
, gj and gg , and ESI an( ^ EB uuite with an angle. This 

should be especially noticed, as many young writers mistake these 
joinings 

3. Facing curves are much more conveniently made than oppos- 
ing curves, except where the latter lie in the same direction, and 
unite without an angle. But it will be observed that the facing 
curves are much more numerous than the opposing. This great 
convenience in writing is secured partly by a careful selection of 
the letters of the alphabet in the formation of the system, and partly 
by a skillful use of the variable consonants. The cases of joining 
with opposing curves are very few, and more than one-half of these 
either unite without an angle, or have other more facile forms to 
supply their places ; so that the inconvenience resulting from such, 
forms is reduced to a minimum. 

14 POSITION OF OUTLINES. 

I. The first perpendicular or inclined consonant in a 
word, rests upon the line of writing; all other letters pre- 
cede or follow this according to their own natural di- 
rection. 

II. If the outline contains no perpendicular or in- 
clined consonant, the horizontal outline rests upon the 
line of writing. 

Examples. 



40 THE MANUAL OF TAKIGRAFY. 



WRITING EXERCISE V. 

(These words are spelt as nearly as possible as they are to 
be written by the pupil.) 

Bet, pet, get, led, tied, wed, beg, peg, leg, bug, buk, pug, 
rug, mug, bek, dek, pek, rek, rook, nook, hook, de% ded, fated, 
heded, weded, molded, folded, petted. 

Forget, foolish, fellow, footing, fading, sheding, shuting, 
son, moan, alone, tone, non, lul. 

Seth, soeth, sed, sez, soz, sod, goodnes, elm,, elf, muf, moov, 
melo, mamoth, mumy, mes, method, them, thum, theft, thach, 
then. 

Deth, tooth, doeth, shook, shun, cave, cuf, gun, ken, sup, 
suk, dul, tool, jely, gul, bone, pun, bel, nob, nok, pas, bas, 
rym, wel, whole, noch, lanch, lunj. 

Tend, rend, we7id, mend, send, tent, went, ment, lent, sent, 
wer, her, rare, wear, hair, ejd, echt. 

PART II. 

(Miscellaneous sentences embracing some of the words 
introduced in this and preceding lessons.) 

The bug may get into the rug. Put the keg upon a bench. 
Ned sed he wud do so. He put the book upon the shelf. 
They went out to see the rek. I saw ten men. Take care 
of that gun. We saw them run. 

Ther iz a way that seemeth riht unto a man, but the end 
therov ar the wayz ov deth. A wicked man taketh a gift out 
ov the boozom to pervert the wayz ov jujment. Even a fool 
ivhen he holdeth his peas iz counted wize. Deth and life ar 
in the powr ov the tung. Hooso findeth a wife findeth a 
good thing, and obtaineth favor ov the Lord. It iz joy to 
the just to doo jujment. My son, if thine hart be wize, my 
hart shal rejois, even mine. 



LESSON VI. 

DRILLS ON CONSONANT JOININGS. 

I. Special drills should be instituted for every class of 
consonant joinings. Those that unite without angles 
should be so mastered by practice that they can be struck 
with the pen as one character. This remark applies to all 
classes of joinings, whether straight or curved, or composed 
of one straight and one curved sign. It applies also to the 
so-called half-angles, which, in practice, are treated as 
though no angle occurred. 

II. Those joinings also which contain an angle should 
be subjected to drill till they can be written with the high- 
est possible rate of speed. Though the angle cannot be 
entirely obliterated, yet the skillful penman will learn to 
make two letters as though it were one. 

III. The student should be guided in his practice by 
the rythm of motion, as the musician is guided by the 
rythm of time. But double time applies only to the join- 
ing of consonants, and triple time to the joining of conso- 
nants with vocals, or to the joining of two consonants with 
an intervening connected vocal. Hence it is not conve- 
nient to have three consonants unite without an angle. 

41 



42 THE MANUAL OF TAKIGRAFY. 

IV. The following specifications and examples of drill- 
ing on these combinations deserve careful study and 
practice. 

a. REPEATED CURVES. 

These are among the easiest of joinings, and may appro- 
priately make the first subject of Drill. [See Drill No. 10.] 

Rem. — 1. Some of these and of the following combinations are 
of much more value than others, and deserve more attention ; such 
are s's, z'z } n?n, etc. 

2. It is not designed that these drills should be limited to the 
repetitions given in the engraved specimens. Instead of three repe- 
titions, each combination may be repeated an hundred times if nec- 
essary, in order to secure skill in its use. 

b. This, and some of the following drills, may be varied 
by changing the order of the combinations, and by employ- 
ing alternately heavy and light signs. [See Drill No. 10a.] 

c. The doubling of the straight signs, though not espe- 
cially difficult, will need considerable practice. [See Drill 
No. 11.] 

d. The combinations in Drill No. 12 suffer a partial 
rounding of the angles, but not their complete reduction. 
Both signs should be made, however, as one letter, and with 
one stroke of the pen. 

e. The joining of straight lines with curves, when they 
form a distinct angle, forms the material of Drill No. 13. 
These forms are numerous, and easily written. Only a few 
specimens for practice are given. 

f. The half angles, while presenting no essential diffi- 
culty, yet deserve much attention; for young writers are 
apt to make too much of the angle, and are slow to avail 
themselves of the great advantage of running the two let- 
ters together into one stroke. [See Drill No. 14.] 



—7 — > 




•l : : i3 


L 


Z7z 


■.,«.;, 






/<?y : . 


' L l_ 


L_ 


~i n ~i y\A^ /\y\/\ 


\y*y* 


^y 


W ^^^^V" 


\\\ 


% 


/3 


y y- 

i:V) i 


1 u 

I! 


.U^U. ^xy^~"\ \^y\^V-^ 

(lliii ^M)^ 




, ^_ 


_^, , , ^^ _^_ ^_^ ^^ . , ^ 






_^- 


_ ^4_L -_*i. — <_ ^^^_^-_ 


LLL 


iyi 


_y yi^y i;uuvvy 


\y\y\ 


JS > 


\\ \\v^.^y "yyry- 




j 


V V J J J; 


— >— )- 


~) ~ 


yyy c_l_g_ /\aa 


rv/x 


r\ 


/iy /i ;Vi /i /i, y ^ "7 


y? y c 


7 


-y S S y "-) T. 



44 THE MANUAL OF TAKIGKAFY. 

Rem. — The engraving of these half angles does not perfectly illus. 
trate the written form ; for the engraving is accurate, leaving the 
angle visible ; but in writing, the angle will in most cases entirely 
disappear. The joinings Be-En, Pe-En, Ga-El, Be-Ef, Ma-Ga, Ish- 
Be, etc., are made without an angle. 

g. The joining of straight and curved signs, without 
angles, is very easy when once mastered; but the tendency 
to curve both strokes in these cases, renders much practice 
necessary. [See Drill No. 15.] 

h. Facing and opposing curves give opportunity for 
further drill; but the most important cases are those that 
unite without an angle. [See Drills Nos. 16 and 17.] 

Rem. — 1. In Drill No. 17, there are some cases in which the 
angle, which is visible in the engraving, entirely disappears in the 
writing. This is the case in joining Zhe-La, Ish-La, Ze-El, Ma-Ve, 
Ma-El, etc. 

2. In actual practice these different classes of joinings unite in 
various ways in the same outline ; but if the above drills are thor- 
oughly mastered, no difficulty will be found with the words con- 
taining them. 

i. The rapidity with which these combinations can be 
written, differs considerably with the different joinings; but 
a person with nimble fingers can write them at the rate of 
150 to 250 combinations or repetitions a minute; those 
without angles being generally made the most rapidly. 

j. If the student find a special difficulty in making any 
particular joining, he should give it the more attention, until 
the difficulty is removed. In some cases it may be found 
that a faulty mode of holding the pen, or a bad position of 
the hand, either creates or adds to the difficulty. In this 
case it will be worth while to look for the cause, and see 
that it is removed. 



■'•~7""""Y 


'■ n -> 


/- " 


n 77 4S 


: : Uzillsj 


£r/ 


J r<zciice. 






; ,- / 5 




■ ": - . o 


|j 


w ^ 


^vj¥> 


^V 


8 


f^-p: 


-v-^-^^ 


^'C. 


H 


/e 


■- ;.' : ";.'- ; .;;^; r ' .- *.'-."" 


^~ 


UK 


yx;k 


k >- y? v^'- ; 




\ vt 


A^X" 


^...s^So>> : '.l.' 


^^^1 ^-^1 "-^\ 


1 ' 


N 


r r ( "1 T^T 


) ) ) 


fja 


L> i_. 


l^— s -U-v U—v. v . -V ■ v 


^^y 


"¥ 


' : <L'. 


L L 




km 


, J 1 ■■ 


■jS&u&u.'Q&O 


&),fl%g 


^3 


mffl 


W^0& :^:0, 


Ol1. ; .v 


Jy ; V, 


ssyr- 


>^>/^/^^\/ttN 


1 1 1 ; i 


art; 


^f) r , 


1 rbn : '/^Hr 


%/r 




*? n ? 


i.,C£ 


■ ■ a c 





46 THE MANUAL OF TAKIGEAFY. 

Rem. — An entire session may very appropriately be devoted to 
these drills; but we add a few additional principles which may be 
explained for future study. 

15. The Joining of Q and Q Between Two 

Consonants. 

I. The short vocals Q and Q| may form hooks on the 
end of the consonant signs ; but it must be observed that 
the hook, when it occurs between two consonants, is al- 
ways on the end of the former — never on the first part of 
the latter consonant. 

Rem. — The initial hooks are reserved for the compound signs of 
the L- and R-Series, introduced in a subsequent lesson. 

II. In forming these hooks, the letters Q and HI may 
be turned, as explained in the first lesson; but they al- 
ways turn forward from their original position, never 
backward. 

a. The use of these hooks will be best seen by contrast, 
as in the following examples: 



E S °S. § ^ ^ E g - g gf 

o* 
a 

b. Whether the full form should be used in any given 
case, or the hook, is determined chiefly by convenience. 
The examples and illustrations given in the reading exercise, 
and in the tables of joinings, which follow, will make the 
use of these letters plain. 



48 THE MANUAL OF TAKIGRAFY. 



WRITING EXERCISE VI. 



He will pick up his pack. Give him the big bag. Can 
you hit that bat? I pity the bad boy. See him kick his 
cap. The bishop came to town with the king. The Jin of 
a fish is not fit for food. He made a din on that tin pan. 
Give the lady a fan. You may sit and sip the sap. The 
girl in the pink sacque was sick. She will sift the meal 
toith a sieve. Is that syringe made of silver? She sat on 
the thick mat. The naughty boy will mimic her manner. 
They run no risk. They loill rally at the rink. 

Pit, pat, pad. Bit, bat, bad. Pick, pack, big, bag. 
Did, tit, tip, tap, dip, tick, tack, kick, cag, give, calf can, 
tin, tan, din, sift. His, has, with, risk, list, last, hist, hast, 
myth, fish, fashion, visio?i, fifth, filth, thick, thin, thill, 
wick, wit, will. 

PART II. 

The memory of the just is blessed, but the name of the 
wicked shall rot. The tongue of the just is as choice silver: 
the heart of the wicked is little worth. The path of the 
just is as the shining light that shineth more and more unto 
the perfect day. A good man obtaineth favor of the Lord; 
but a man of wicked devices will He condemn. A man 
shall not be established by wickedness. A man shall be com- 
mended according to his wisdom. The viay of a fool is 
right in his own eyes; but he that hearkeneth unto counsel is 
wise. The hand of the diligent shall bear rule. There is 
that maketh himself rich, yet hath nothing. Wealth gotten 
by vanity shall be diminished. 



LESSON VII. 

16. a. The use of the vocals Q and Q, when they occur 
between two consonants, is illustrated in the preceding les- 
son. We add here some tables designed to give these com- 
binations in fuller detail. The heavy and light letters form 
the same joinings, so only one letter of each pair of conso- 
nants is given. 

b. As these tables may be used for drills and repeated 
at pleasure, they are numbered with the drills; and the stu- 
dent or teacher is left to determine the amount of practice 
necessary to be bestowed upon them. [See Drills Nos. 18, 
19, and 20.] 



Rem.— 1. | J and £ jj occur as initial only in a few combina- 
tions, which are given in the tables ; and the hooked letters are 
omitted from the tables because they join with a following vocal 
in the same manner as the corresponding unhooked letters: | 

and WW like gg and gjjf; |^ and ||g like gg- and ^ like 
upward | J|. 

2. In some cases two forms are given for syllables ending in 
SJ'B or Bu' ^~ n tnese case s both forms are used, and the 

form to be preferred in any given word is determined by the prin- 
ciples controlling the use of variable consonants, given in a subse- 
quent lesson. 

3. When 1M and E9 are preceded by Q or Q the vowel is 
generally disjoined. 

49 



50 



THE MANUAL OF TAKIGRAFY. 



Table op Joinings — Consonants with B and 



LESSON vn. 



51 




THE VOCALS 



AND 



MEDIAL. 



17. The use of the vowels Qg and £| between two 
consonants is very easily learned. . The following may be 
taken as a general rule for their connection or discon- 
nection: 

Rule. If the vocal makes a sufficient angle for conve- 
nient joining with both the preceding and following con- 
sonant, it is joined; otherwise it is disjoined. 



a. The vocals Q and Q being short, and often obscure, 
are so often omitted in a practical use of the system, that 
any effort to join them in cases of difficulty would be to but 
little purpose. 



52 



THE MANUAL OF TAKIGKAFY. 



b. The vocal Q, being written both upward and down- 
ward, is more easily joined than the other light dashes, and 
the strength and clearness of the sound which is never ob- 
scure or doubtful, renders its expression in the Literary and 
Common Styles of Takigrafy more important than that 
of the weaker vocals. % 

c. When disjoined, these vocals, as also JQ and Q. are 
placed near the end of the consonant which they precede. 

Rem. — 1. This position is the most convenient for the writer; 
and, as the short vowel always needs the following consonant to 
complete the syllable, it is the most natural position. A fixed place 
for these signs, though not essential to legibility, is convenient, for 
it tends to uniformity of writing. There has been some difference 
of practice heretofore in the use of the light dashes, which teachers 
will note and correct. 

2. When the disjoined vocal is initial, it is sometimes written 
first, and then, may be put near the first part of the following conso- 
nant ; as in the syllables oov, oof. 

3. The following reading exercise contains most of the short 
words in which these vocals occur; and the Tables of Joinings 
(Drills Nos. 21, 22, and 23) give nearly all the syllables which occur 
in longer words. 



Table of Joinings — Consonants with 




LESSON vn. 

22 



5£ 



1, ^ J Ul^lrU^ L 


"Tl ~~ "\ - 


-i — ■ ) ■ — m : - 


s - 


-V7— 


s/'i ^y — tX 








A 


" A A '• 


n r\ r 


^- n an- 


~x 


^ 


''a^.aa^ 


A^A- 


-A.A)A(AA 


■^ 


^~ 


'•C^AJ^/ 


A J\ - 


y—Aix j- 


-^ 


*%> 


^jA'^AA 


A /\ / 


- A)AA~ 
^3 


/S 


■S^ 


~A^A^ 


\ ^L^ 1^ & V- L_ 


Uv 


'AAyAA 


V\^~ 


-4_"i -^ _ 


^>- 


_/"_ 


/ 


\ \ L 

-1 A \ 




- u 


A 


a v y 


A ^ 


. r*- A A 


-^ 


^/7 


/tf^ 




yL_A-^ 


/fe 


T- 7 


y ^aj 


A S\ 

- 


^- A '$A < 


^Ac 


-^V 


A 



LESSON VII. 55 



WRITING EXERCISE VII. 



John put down his book and took up the foot-ball. He 
could not get the top. Hulda hung her hood on the hook. 
Puss hid in a nook to look for mice. You may pull that 
lock of wool off the bush. Did he cut that bud? Gome 
and get the cup, but do not take the mug. , He put a hoop 
on the tub. This oak wood is tough. The bug is on the 
rug. Tom is a rough and ruddy boy. Does he love to 
run? They rush into the hut. Bob will not touch that jug 
of rum. The just judge was at the church. The fop 
has a fob. He fell into a bog. Jane got her doll at the 
shop. John took a long log to the saw-mill. She sung a 
song. 

The tongue of the wise useth knowledge aright. Folly is 
joy to him that is destitute of wisdom. A man hath joy by 
the answer of his mouth. How much better is it to get wis- 
dom than gold? He that handleth a matter wisely shall 
find good. The lot is cast into the lap; but the whole dis- 
posing thereof is of the Lord. The fool hath said in his 
heart, There is no God. 

PART II. 

Timid* tiller, pilfer, damage, badly, padlock, patern, 
palace, bankrupt, panier, panzy, kinship, canker, candor, 
cavil, given, gilding, gallon, tanzy, tinsel, ginger, village, 
vinyard, ship-yard, shanty, shadoto, sand, sinned, silver, 
pencil, penman, easily, manage, magic, minute, misery, 
mystery, natural, narative, analogy, anachronism, in- 
iquity, liquid, lingual, liberty, liberal, rapidly, ransacking, 
raveling, rashness, ribaldry, river, hammer. 



56 THE MANUAL OF TAKIGRAFY. 

Foot-note, copy, honor, goblin, canon, random, atlas, 
comity, entity, faculty, modesty, parity, balcony, verity, 
density. Pigment, pivot, poplar, motley, orbit, pocket, 
bucket, socket, wicket, botany, colony, tyrany, ticket, docket, 
hornet, onset, compel, upon, unfit, forget, admit. 

The American Colonies fought for liberty. This coupon 
was attached to a bond. He was distinguished as a lin- 
guist. That is the fact. They formed a solemn compact. 
A canon is a law of the Church, but cannon used in war 
belong to the department of artillery. A farmer is a tiller 
of the soil. Pigment is a kind of paint. That is a figment 
of his imagination. 

A wicked man taketh a gift out of his bosom to pervert the 
ways of judgment. He that answer eth a matter before he 
heareth it, it is folly and shame unto him. He that keepeth 
the commandment keepeth his own soul/ but he that des- 
piseth his ways shall die. The desire of a man is his kind- 
ness; and a poor man is better than a liar. The fear of 
the Lord tendeth to life; and he that hath it shall abide 
satisfied. The hearing ear, and the seeing eye, the Lord 
hath made even both of them. 



LESSON VIII. 



THE VOCALS E 9 AND 



18. I. When the long vocals Q and Q occur between 
two consonants, they may form a hook, if necessary to 
convenience of joining; but the use of hooks for these 
signs is much more restricted than it is for the correspond- 
ing short vocals fl and Q . The hook for the short vocals 
is used freely whenever it is in any degree more conve- 
nient than the full form ; but the hook is used for the long 
vocal only when the full form is positively inconvenient, 
and would render necessary the use of a connecting 
stroke. 

II. It must be observed that the hook is always made 
on the end of the former, never on the latter of the two 
consonants between which it occurs; and that it is dis- 
tinguished from the small hook by being made of larger 
size. 

III. But Q and Q may be disjoined in some cases, 
though this seldom occurs. [See Examples below.] 

19. As Q is never represented by a hook, it is some- 
t times necessary to use the connecting stroke with this 

letter. Where it does not join readily with either of the 
consonants between which it occurs, it may be disjoined. 

57 



58 THE MANUAL OF TAKIGRAFY. 

The following examples will illustrate the use of these 
letters as both joined and disjoined : 

Examples. 




THE VOCALS g ] AMD |£ 

20. The heavy dashes, like the light ones treated of in 
the preceding lesson, are disjoined with more frequency 
than the semi-circles. They are disjoined in all cases 
where they do not make a proper angle with the letters 
between which they stand. 

a. No specific directions are necessary to the use of these 
letters. |Q, being written both upward and downward, has 
the greatest facility in joining; the downward form being 
preferred when both are equally convenient. The use of 

[J is also aided by the change of direction allowed; and the 
g, though unvaried, is of too infrequent occurrence to be 
at all burdensome. 

b. The student should notice that when these dashes are 
joined to a curve the angle must be marked and unmistak- 
able. When joined with the straight signs right and acute 
angles are preferred, though obtuse angles are allowed in 
some cases. 



LESSON VIII. 



59 



The following examples will illustrate the use of these 
letters: 

Examples. 



u u u 


./-" ; 


v ;;,' •'•; " 


sV 7 *^ 


3 j\ - 


f\ir^-h-'.-';X-^ ^~ 


1 x l 


s ^s 


\ \ v . S)~U ],Jl^ 



SYLLABICATION. 

21. When the long vowel signs are disjoined they 
should be placed with the consonant to which they belong 
in pronunciation. 

a. Short vowels are always found in closed syllables, 
but long vowels occur both in open and closed syllables; 
hence the short vowel always belongs with the following 
consonant, but the long vowels may belong to the preceding, 
and end the syllable, while the following consonant begins 
a new syllable. 

Rem. — The following examples will illustrate this use of the long 
vowel signs; but the table of joinings gives the position of the 
vocal only in closed syllables : 

Examples. 



- — "n 


< — ~1N 










• 




— ?n 


Q 


% 


x- 


, ^ N 


"\^~ 


t| 


— oT- 


N^^^^ 


~r> 




\y 




1 1: 




"^ 


'% "VT 








_)i 


\yi 


*^ r 




^ 


i V 






s^r 


" ^ 



60 THE MANUAL OF TAKIGRAFY. 



DRILLS. 

In drilling on the joinings of the long vocals, it should be 
observed that they do not occur in all possible combina- 
tions. Q occurs very seldom before any other letter except 
EBi ; and Q is of infrequent occurrence. |||| , Q, Q and J 
occur more frequently; but none of them occur in all the 
syllables that would be made from a full table such as has 
been given for the short vocals. 

The following condensed table of joinings will amply illustrate 
the use of these letters. No combinations are given except such as 
actually occur in writing our language. [See Drills Nos. 24, 25, 26, 
27.] 



LESSON VIII. 



61 



Table op Joinings — Consonants with Q t gg and 




62 



THE MANUAL OF TAKIGRAFT. 



Table op Joinings — Consonants with Q, Q and 







u 


\r i_.^\_=^x^\^\_^ y 


- 


rv -^h^i. L i i.lhI 


^-^> 


• f /^^ s — ^ CI . w-^^ ^^-w- li^T" 


■A 


A A S~~ y "V^. X^/0 /^9 


\ 


^ u i J .U^^-Ui>4 L 


"1 " 


% ^V^X^OCt 




, 7 


U 


- V- Uly 1/. i_\ Lb (/' 


Q - 


~> ^^v^ : ;p i>. y^ r^o 


a < 


--P-. / — v-/^yri? __^_r^o- 


j\ 


^^ _^ ^^^ >" y^" ^ 


A 


/V /•- /") /^—^/^A^^ 


__^ 


KjiM.i^ 'WV- \_y\V> 




-i- -^ "7. LJ v_ v> ^_^ 


.7^ 


?. — ^.^^.^-/s. 









63 




Q 




Y~" 




X\£A 


DX] 


^)a .J^crxjxse . 








"wr^- 


k 


Ul L 


U 


U i^LL ! > V. 


S 


v T-fe 


"7 


f? :-? -^ o~ r ■>- 




>.->^ 


-^ 
/• 






r _ > - 


1 


~S IX-I/ "t? 


_^_ 


-^ >? 


•^ 


<^^ >-v> v^ /^L. 


/* 




^ < 


^1 u ^o\ 


- 1 - 


-? a/ 


%: 


X^^l^^~ 


^/ ? 


N ^~" 


-r* 


^ r^~^ r^~^:- 


1/ 


\_- 


^__ 


S^ U -«_ U ^_ 


y+ 


— >^_ 


1/" 


-^ <^ y ^ 5 


V 


-— > ^^ 


u^ 


/ / , 


s 


, w* <~ 


- £> 


x/^ - —^ f^. ^_ — ^ A, L 


5 


-v-.'^-r 


^- 


c4')\ ^ c^y-^ji^r J^ 



— V <y? >" 



>« v_ X 



W^l 



64 THE MANUAL OF TAKIGRAFY. 



WRITING EXERCISE VIII. 

A man was walking in the town one day, and saw a poor 
dog that had hurt his leg, and was la?ne. He took the dog 
home with him and tied up his leg, and took care of him for 
a few days. He then sent the dog out of his house to find 
his old home; for, as it was not his own dog, he had no right 
to keep him. But thd dog came back each day to get this 
kind man to tie up his leg anew. And this he did until it 
was quite well. 

After many days the dog came back agen, and with him 
came a dog that was lame. The dog that had been lame, 
and was now well, gave the man a look, and then he gave 
the lame dog a look, as much as to say, " You made my leg 
well; be good enuf now to do the same for this poor dog 
that has come with me." 

PART II. 

Papal, paper, forum, poet, poem, label, labor, Satan, 
fever, baker, taper, caper, taken, maker, raker, bony, pony, 
holy, total, hero, solo, colon, halo. Debase, debate, incase, 
sedate, relate, redeem, esteem, demean, retain, remain, be- 
moan, dismay, obey, unsay. 

Deed, deep, heed, heap, need, read, reap, sheep, keep, 
peep, cheer, sheer, jeer, dear, weep, seer, peer, leer, meet, 
seat, seen, cheek. Doom, boon, room, fool, pool, toll, roost y 
moor. Road, toad, load, goad, roach, coach, mourn, 
bourne, shorn, torn. Daunt, taunt, barge, charge. Gauze, 
cause , hawk, naught, caught, fault, vault. Abasement, 
debasement, embargo, disembark, dictionary, relative, nega- 
tive, imitative, nominative, figurative, operative, copulative. 
Aphorism, magnetism, barbarism, coroner, senator, monitor. 



LESSOR IX 



THE DIAMOND POINTS. 



22. The diamond points are joined in the outline in 
nearly all cases, yet they are disjoined in some words, and 
are then located in the same way as other disjoined vocals. 

a. The Q is omitted between | 3, and in a few 
other cases, as in the words size, society. 

b. These cases are specified as examples; but any one 
of the diamond points may be disjoined wherever it is more 
convenient to do so. 

Examples. 




VOCAL SIGNS JOINED WITH THE VOCALS. 

23. It is frequently necessary to join vocal signs to 
other vocals. In this case the same principles are fol- 
lowed as have been already taught. 

65 



66 



THE MANUAL OF TAKIGRAFY. 



a. In some cases the vowels are both joined in the out- 
line; in others one of the vowels is joined, and the other 
separated. Their use will be best learned from observation. 

b. The vocals that admit of variations are varied when 
joined with other vocals as in other cases; and Q. which is 
never varied when joined to consonants, may be turned 
slightly before Q in the word aerial, and after Q and Q in 
such words as abbreviate, create, etc. 

Examples. 




DUPLICATION OF CONSONANTS. 



24. In many words tbe same consonant is repeated in 
the common spelling, where it is pronounced only once. 
In these cases only one letter is written in Takigrafy. 

a. In some words both letters are partially pronounced; 
that is, the first is dwelt on in the utterance, and pronounced, 
though there is but one articulation. This is the case in 
such words as abbreviate, adduce, attend, etc., where the 
ab, ad, or at are prolonged on account of the following 
b, d, or t. In most of these cases only one of the letters 
is written in Takigrafy. [See concluding chapter.] 



LESSON IX. 



67 



b. But there are a few other cases in words derived by 
prefixing mis, out, un, and perhaps some other syllables, and 
in adding ly, less, and ness, where both letters are distinctly 
pronounced, and should be both written. Such words are: 
misstate, unnatural, outtravel, wholly, soulless, keenness, etc. 

Hem.— There is some reason for writing both* Vs in such words as 
ally, allow, alloy, etc., where the second letter is especially prom- 
inent on account of the accent ; but this is a refinement not neces- 
sary, except in the single word ally, which may take both Vs. 

c. Compound words, in which the second component 
commences with the same letter with which the first ends, 
have both letters written in all cases, as in book-case, rat- 
trap, head-dress, ear-ring. 

Kem.— Compound words are generally joined in writing; but they 
may be separated when necessary for convenience, as in the words 
book-case, book-keeper. 

Examples. 




VARIABLE LETTERS. 

25. The consonants that admit of variation in direc- 
tion are B Q and J J. Their use has been 
illustrated in part in previous exercises. 

The following are some of the principles that govern 
their use: 



a. The curves 



and ES> when joined to 



68 



THE MANUAL OF TAKIGEAFY. 



curves whose direction is fixed, are turned so as to make with 
them facing curves. 

b. When joined with the variable letters they are made 
to conform with one another. 

c. When joined with the straight signs they are turned 
in such a way as tp make the best angle, or so as to unite 
without an angle. 

Rem. — The best angles are the acute. 

d. ^S is written in such a way as to secure the best 
angles, except that initial 828 is written upward in nearly 
all cases. 

e. Initial Qf is written upward, and initial j Jj| in 
words of more than one syllable, when not followed by Q 
and Q. 

Rem. — Further specifications are deferred to Lesson XII. Teach- 
ers will do better to rely upon illustrations than rules. 

Examples. 




LESSON IX. 



Table op Joinings — Consonants with H , Q , Q and Q . 




LESSON IX. 71 



WRITING EXERCISE IX. 

Come and see my two tame mice. A mountain is a high 
hill. Learn to be wise in the use of your time. Look at 
that poor boy: how pale he is. He has been ill. He ate 
'too much cake, and it made him sick. If he 'had given a 
piece of it to his little sister, he would not have been ill; 
but now he lies on his bed, and cannot get up and walk this 
fine day. I hope that he will learn that it is a very bad 
thing to eat so much, and that he will be more kind to his 
little sister. 

My son, fear thou the Lord and the king, and meddle 
not with them that are given to change; for their calamity 
shall rise suddenly; and who knoweth the ruin of them 
both? Answer not a fool according to his folly, lest thou 
also be like unto him. Answer a fool according to his folly, 
lest he be wise in his own conceit. He that sendeth a 
message by the hand of a fool cutteth off the feet and receiv- 
eth \drinketK\ damage. Seest thou a man that is wise in 
his own conceit, there is more hope of a fool than of him. 



part n. 

Dike, like, pike, pile, tile, mile, vile, wile. Pine, mine, 
sine^ nine, fine, vine. Nice, rice, dice, twice, kite, mite, rite, 
site. Pure, cure, lure, mute, suit, suet, duet, rebuke. 

Loud, noun, pouch, house, mouse, void, hoist, joist, foist, 
joint, joined. Found, bound, sound, couch, shout, howl, 
voice, choice, noise, poise. 

Allurement, incitement, mountainous, bounteous, loyalty, 
royalty, gayety, dynasty, moiety, fealty, poesy, piety, deity, 
deify. Duel, fuel, vial, final. 



72 THE MANUAL OF TAKIGEAFY. 

Geology, geography, geologize. Calumny, calculate. 
Barrel, parrot, garret. Pallid, palace, battle, shallow, 
silly. Mineral, marriage, milky, literal, latteral, latterly, 
ladder, latter, livery. Hugged, rancorous, corset. Hero- 
ism, horror, dollar, collar, volly, valley, folly, terror. 
Champion, garland, amazement, America. Luminary, 
culinary, migratory, contumacy, accuracy. 

Abbreviate, apprehend, aggregate, attendant, attention, 
approbation, application, assertion, affection, affliction. 
Commit, connect, common. Sufficient, efficient. Suffuze, 
suffice, surround. Anoint, appoint, annuity. Immemorial, 
innocent, immoderate, immaculate. 

Unnatural, unknown, innocuous, missent. Out-talk, out- 
tell, out-toil. Wholly, fully, soulless, keenness, openness, 
evenness, ear-ring, book-case, book-keeper. 

Gird, girt, dirt, word, reward, inward, outward, import- 
ant, form, informal, infirm, board. Their, them, this, 
theze, thoze, either. Author, authority, thick, thin, than, 
then, anything, nothing, something, method, Methodizm, 
rather, rythm, anthem, remark, remain, research. 

Lamb, limb, loam, lime, illume, lead, laid, load, light, 
late. Leap, leave, lave, love, live, loaf, leader, elder, older. 
Mean, main. Amain, amount, amid, aimed, matter, ma- 
terial, meander. 



LESSON X. 



CONSONANTAL DIPHTHONGS. 



26. Wh, qu, gu, dw, tw, and thw; these letters unite 
very closely in pronunciation ; and the first is provided 
with a distinct sign, which resembles wa, with a thick- 
ened hook — thus : Jgg . 

Qu is written as kw, and gu as gw. The other letters, 
dw, tw, and thw are written by joining the simple letters, 
as previously taught. [See Drill JS"o. 29.] 

Examples. 




THE L. AND E. SERIES OF DIPHTHONGS. 



27. The letters I and r, when preceded by certain 
other consonants, unite with them into one articulation, 
forming a true consonantal diphthong. This is seen in 
such words as place, prays, close, grows, &c. 

73 



74 THE MANUAL OF TAKIGRAFY. 

There are two series of these diphthongs — the L. series 
and the K. series, as follows: 



blpl gl cl fi brpr gr or dr tr fr shr ihr 

These letters are named — Bla, Pla, Gla, Cla, Fla y 
Bra, Pra, Gra, Cm, Dra, Tra, Fra, Shra, and Thra. 

It will be seen that the L. series is formed by making 
a hook on the right side of the straight letters, and the 
K. series by making the hook on the left and under side. 
Bnt both hooks must be on the inside of the curves; 
hence fla is made by putting a hook on the Jffc, and 
shra by putting a hook on the downward JQ; because 
hooks can not be made on the convex side of gg and Q. 

a. These hooked characters are joined with the follow- 
ing letters in the same manner as the simple letters which 
form the stem, since they end in the same way; but when 
they are preceded by other letters, the joining partakes of 
some new elements, which are illustrated below and in 
Table 30. 

b. The use of the signs given above is uniform and cer- 
tain; for, as they represent true diphthongs, they are used 
as a matter of principle wherever the diphthongs occur. 

Rem. — 1. The teacher may illustrate the use of the hooks on the 
straight signs by holding up his left hand, with the fore-finger 
bent to represent the hook, for the L. series, and his right hand for 
the R. series. He may remark that the left hand properly repre- 
sents the L-hook, and the right hand the R-hook series, because L. 
stands for left, and R. stands for right. 



LESSON X. 



75 



2. These new signs should be practiced by the pupil till they are 
perfectly familiar, as the alphabet was mastered in the first lessons 
of the course. 

3. The teacher will find use for the black-board in treating of 
these letters, as he doubtless will through the entire course. Pre- 
vious explanations will suffice as illustrations of such use. 




THE SEMI-DIPHTHONGS. 

28. The signs of the L. and E. series are nsed also in 
medial and final syllables in which they are not followed 
by a vowel, and are less closely united than in the initial 
syllables treated of in the preceding section; as in the 
words temple, temper. All the signs given above are 
nsed also in this series of medial and final compounds, and 
some others which do not occur in initial syllables. The 
entire series are: 




And they are named: Bel, pel, gel, kel, del, tel, vel,fel y 
net; her, per, ger y ker y der, ter, ver, fer, zher, sher, ther r 
ther, ner. 



76 THE MANUAL OF TAKIGRAFY. 

a. The hooked signs are used in medial and final sylla- 
bles merely for convenience; and the full form is equally 
proper in any case where it is equally convenient. There 
are many cases in which the hooked sign does not join 
^easily with the preceding letter, and the pupil should be 
oautioned against attempting to use these compounds in 
.such cases. 

b. So far as joined with the consonant signs, the combi- 
nations in use will be found in Table 30; and as joined with 
vocals, in Table 31. 

c. These signs are never attached to a vocal hook. In 
any case of difficult joining, the student has only to use the 
full form instead of the compound. 

Rem. — Both teacher and pupil should be careful to distinguish 
the use of the hooked signs in medial and final syllables, from their 
use when followed by a vowel. In the latter case the compound is 
always necessary; in the former its use is determined only by con- 
venience. 

Examples. 




Note. — The student who wishes to become a rapid and skillful 
writer, in the shortest time and in the easiest way, should write out 
carefully the Compound Signs, which follow, as also the Tables of 
Joinings, already given, and have them read to him until he can 
write them from dictation at the rate of 100 syllables to the minute. 
This exercise may be repeated with profit, until all the joinings are 
perfectly familiar. This process should be carried on throughout 
the entire work. 



C om)iCf 


77 

unci Sicpns . 


o 


£, A- 


.„/ ^. 


c^ 


>ix "SX 


-i/ —^- v>. 


\ r < 


<x J . V 


1 S'^Vct-V *) ^ C ^- 




I 


^ -^^— . 


r r. 


V\ 'c 


_ c_ ■ J> J> C.. 


1 ' i; jv> 


- n ;; ^ ^. . 






30 




-3 £ •" 
• ? Id 


• f\L5L^^^- 


cy ^ 


/r^-^ 


- ^^.-^-c-^.A^ 




^lll 




u s> 


[^, =p*l 




<1 /-" 


< : :rf?.rt 


A A* A"'; ^ -^\ _c- 


^ - 


f^ T 


* _^y. xi >^>rv*i 


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fS ^~- 


1 


1 *\ 


1 y ? 


k«\ ") ^ e_ t_ t_. 


T 1 ^ 


s. ^\ -C_ 


^^ *>^^ O A 


r i v-s ^ ^ 


>") -^-^ 1 y ?. 



LESSON X. 79 



WRITING EXBECISB X. 



Will you let me try to write? Yes; I wish to see you 
try. Now I wish to go and play. What! so soon? Please 
to hand me my hat. Why does that dog whine? What is 
the matter with him? See that man with the whip! Did 
you hear that ball whizz? Can you drive away these flies? 
They make him fretful. The trees blossom in the Spring, 
but we get fruit in the Autumn. These fresh fish are good 
for food. BrooJc trout are caught in the brook. See that 
flock of sheep! Some of them are white, and some are 
black. We get black wool from black sheep. When will 
supper be ready? Supper is now ready. 

A good name is rather to be chosen than great riches, 
and loving favor rather than silver and gold. A prudent 
manforseeth the evil and hideth himself, but the simple pass 
on and are punished. It is naught, it is naught, saith the 
buyer; but when he is gone his way, then he boasteth. 
Whoso rewardeth evil for good, evil shall not depart from 
his house. . A soft answer turneth away wrath. When pride 
cometh, then cometh shame; but with the lowly is wisdom. 



part n. 



Play, pray, bray, plea, pry, try, dry, gray, grew, clay, 
crew, tray, true, plum, prime, clime, gloom, grim, trim. 
Free, fry, from, frill, flee, fly, flame, frame. Three, 
thrice, throng, throb, thrill. 

Prepare, prevail, reprove, reprieve, retrieve, deprive, con- 
trive, deprave, encroach, reproach, entrench, create, creation. 

Whisper, quarter, dwindle, twinkle, qualify, between, 
whim, whimper, wherever, whensoever, whichever, languid, 
liquid, anguish. 



80 THE MANUAL OF TAKIGRAFY. 

Double, trouble, noble, vocal, focal, struggle, bugle, can- 
dle, mantel, bevel, revel, novel. Careful, prayerful, mover, 
suffer, proffer, pleasure, pressure, treasure, tenor, tunnel, 
kennel. 

MISCELLANEOUS. 

River, differ, author, able, table, tabor, neighbor, labor, 
maker, sadder, madder, matter, latter, rattle, clatter, rather, 
father, mother, brother, sister. Older, shoulder, molder, 
struggle, straggle, sprinkle, scruple, rascal, trample, prickle, 
prattle, promise, strategy, stratify, triple, drabble, probable, 
scribble. 

WHAT IS NOBLE? 

What is noble? — to inherit 
Wealth, estate, and proud degree f 
There must be some other merit, 
Higher yet than these for me ! — 
Something greater, far, must enter 
Into lifers majestic span, m 

Fitted to create and center 
True nobility in man. 

What is noble f — His the finer 
Portion of our mind and heart, 
Linkt to something still diviner 
Than mere language can impart; 
Ever prompting, ever seeing 
Some inprovment, yet, to plan; 
To uplift our fellow being, 
And, like man, to feel for man. 

— Charles Swain. 



LESSON XI. 

THE S-SERIES OF COMPOUND SIGNS. 

29. The S-series initial is the following: 



sw 



sp sk st sf sm sn si 

Named: Spe, ske, ste, sfe, sma, sne, sla (upward), 
sle (downward), swa. 

These signs are used in such words as spy, shy, stay, 
sphere, small, snow, slay, sleep, sway; and in all cases 
where sp, sk, st, etc., are pronounced together in this way: 

.Examples. 




a. The circle is placed on the right side of y and Q, on 
the upper side of ( | and [ gjj) an( * on * ne inside of the 
curves. When sw occurs in the midst of a word, the hook 
should appear; but when initial, the hook is not necessary. 

81 



82 



THE MANUAL OF TAKIGRAFY. 



b. The circle occurs in the midst of a word in three 
cases: Between two straight lines, betweeen a straight line 
and a curve, and between two curves. 

Case 1. Between two straight lines which make an 
angle, the circle is on the outside of the angle. If the 
signs are both in the same direction, the circle is on the 
right or upper side, as when initial. See examples above: 
bestow, restore, despair, bespeak, understand. 

Case 2. Between a curve and a straight line, the circle 
is always on the inside of the curve, as in the examples 
withstand, mistake, instant — given above. 

Case 3. Between two curves, the circle is on the inside 
of both, if possible, as in enslave, ensnare; but may be on 
the back of one of the curves, as in ensphere. 

Rem. — 1. When s is followed by pi, pr, cr, or tr t in such words 
as splint, spring, screen, stray, the compounds of the L-and-R- 
series are used, and the * is written with the long sign, as in some 
examples in the previous lesson. 

2. So, also, when the s, followed by p, t, etc., belongs to the 

preceding syllable, as in I ■ — mis- 

print, distant— the long sign for s is used. 



THE S-SERIES FINAL. 

30. The circle is used for the s or z, on the end of all 
the consonants except ish, zhe, es, ze, ja, cha, and the 
semi-vowels wa,ya, and ha. With these letters it cannot 
unite without an intervening vowel; but on the other 
letters it is used as follows: 




The names of these compounds are: ebs, ejps, egs> ex, 



LESSON XI. 



eds\ ets, evs, efs, eths, ems, ence, enz, engs, 
erz; and they are used in such words as:. 



83 
, elz, erse y 




Ebbs, opes, eggs, ax, odes, oats, eaves, hoofs, oaths, truths, 
seems, hence, hens, hangs, else, ills, worse, wars. 

a. On the light signs the circle stands for s, and on the 
heavy signs for z; but the liquids n, I, and r form excep- 
tions, as they have the power of being both aspirate and 
vocal, and unite either with s or z, as in the words hence, 
hens, else, ills, worse, wars — given above. On these letters 
the circle may be thickened to represent z. 

b. The final circle, like the initial, is written on the right 
and upper side of the straight signs, and on the inside of 
the curves. When it is followed by a consonant, it con- 
forms to the rules given in the preceding section — coming 
on the outside of the angle between straight signs, and on 
the inside of the curves. 

c. When followed by the compounds of the L-and-R- 
series, it must be turned in such a way as to accommodate 
the hook; but in some cases, where the hook cannot be 
easily made after the circle, the long sign is used instead, 
as in 




exclaim excrete express extreme 



explain 



Rem.— The S-series final is purely diphthongal, and used, with 
the exception noted above, as universally as the initial series. In 
this respect it differs from the final compounds of the L-and-R- 
series. The joinings are given in full in Tables 32 and 33. 



84 



THE MANUAL OF TAKIGRAFY. 



31. I. — The circle is used, in some cases, after an 
obscure vowel where it does not unite in sound with the 
letter to which it is joined, as in the words: 




conscious gorgeous righteous 



circuit 



II. — The circle is also used after the dot vocal 
^-short, as in the words: 



rest opprest molest lesson yes tempest 

a. The use of the circle in these cases is analagous to 
that of the final series of the L-and-R-compounds; and, like 
them, is extended to letters with which it does not unite 
diphthongally, as in: 



as in the examples above. 

b. It is sometimes convenient to write the terminations 
less and ness in this way; as: 



But the fuller forms are to be preferred in the literary style, 
if they are equally convenient. 



lesson xi. 85 

Table op Joinings — Consonants with the Cibclb. 




LESSON XI. 87 



WETTING EXEBCISE XI. 

Me prayeth best who loveth best 

All things, both great and small / ^t ,.. f 

For the dear God who loveth us, 

He made and loveth all. 

i 

i 
I 

Breathes there the man with soul so dead, I 

Who never to himself hath said, 
This is my own, my native land! \ 

Whose heart hath ne'er within him burned, 
As home his footsteps he hath turned 
From wandering on a foreign strand ? 
If such there breathe, go, mark him well/ 
For him no minstreVs raptures swell I 
Sigh though his titles, proud his name, 
Boundless his wealth as wish can claim ; 
Despite those titles, power, and pelf, 
The wretch, concentered all in self, 
Living shall forfeit fair renown, 
And doubly dying, shall go down 
To the vile dust from whence he sprung, 
Unwept, unhonored, and unsung. 



Even a fool, when he holdeth his peace, is counted wise ; 
and he that shutteth his lips is esteemed a man of under- 
standing. Commit thy works unto the Lord, and thy 
thoughts shall be established. The Lord hath made all 
things for himself; yea, even the wicked for the day of evil. 
A man's heart deviseth his way ; but the Lord directeth his 
steps. As a mad man loho casteth fire-brands, arrows, and 
death, so is the man that deceiwth his neighbor, and $aith f 



88 THE MANUAL OF TAKIGRAFY. 

am not I in sport ? Where no wood is, there the fire goeth 
out; so where there is no tale bearer the strife ceaseth. 

PART II. 

Speak, spake, spite, spell, spool. Scott, scout, skiff. Steed, 
sted, stood, state, stand, stain. Sphere, spheroid, smoke, 
smell, smile. Snout, snap, snag, snow. Slack, sleek, slake, 
slim, slime. Sweep, swept, swift, swindle. 

Slaps, slabs, slakes, slugs, snakes, slats, sleds. Slights, 
slaves, sluffs, seeths, swims, swings, spears, stores. 

Unspeakable, respectable, understanding, underscoring, 
instantly, enslaving, unswerving, ensnaring, restoring. 

Rescue, respit, respire, inspiration, install. Despair, 
bestow. Substantial, suggesting, testament, guest-room, 
desk-room, well-spent, prestige, circle, surround, encircled, 
notwithstanding, nevertheless. 

Extemporise, expostulate, excusable, accessible, exchange- 
able, excentricity, exagerate, excited, exhalted, exemplify. 
Brides-maid, grooms-man, bondsmen, craftsmen. 

Expressive, explosive, exclusive, restrictive, extracted, 
abstracted, excruciate, prescription, passover, reservation. 

THE MORAL WARFARE. 

Our fathers to their graves have gone; 

Their strife is past, their triumph won; 

But sterner trials wait the race, 

Which now stand in their honored place — 

A moral warfare of the crime 

And folly of an evil time. 

So let it be. In God's own might 

We gird us for the coming fight. 

And strong in him lohose cause is ours, 

In conflict with unholy povwrs, 

We grasp the weapons he has given — 

The Light, and Truth, and Love of Heaven. 

— Whittier. 



LESSON XII. 



Rem. — This lesson may be preceded by a general review of the 
principles introduced in the preceding lessons, the most attention 
being given to those principles which are the most difficult or the 
least understood. 

OBSCURE VOWELS. 

32. All silent vowels are omitted; but, in addition to 
these, there are many obscure vowels in unaccented sylla- 
bles that cannot be written with perfect accuracy, and are 
not necessary in reading. For the present it will be well 
to omit them, as in the following examples: 




a. The terminations, al, an, el, le, en, er, re, ful, ian, 
iar, ten, ier, dan, on, ion, sion, tion, or, us, ous, and some 
others, are generally either silent or obscure in unaccented 
syllables, as in the words: oral, organ, level, able, leaven, 
lever, nitre, powerful, Christian, familiar, alien, collier^. 

89 



90 



THE MANUAL OF TAKIGRAFY. 



mathematician, cannon, opinion, mission, ocean, nation, 
gracious, gorgeous, surgeon, color. 




See also Writing Exercise XII., Part II., for other examples. 
b. When two vowels come together that make two sylla- 
bles, they are generally both written, as in the words 
creation, meander, alliance, previously given; but vowels 
are sometimes followed by the obscure syllables written 
above, as in the words previous, warrior, scorpion, where 
the writing of the obscure oo-short would add to the 
legibility. 

Examples. 




Rem.— 1. Some persons may prefer to use the short u in these 
cases. While this does not represent the pronunciation so accu- 
rately, yet it is permissible in a word lite pious, where the 00-short 
is inconvenient. 

2. In the Common style the obscure vowels are not used in cases 
of this kind : and it need not be insisted on in this style, though it 
may be useful in the instruction of children, as a means of incul- 
cating greater accuracy of pronunciation. 

THE TERMINATIONS IAR, IER, ION, IOR, UE, TJRE, ETC. 

33. These and some other terminations are written in 
Takigrafy with the gQ, as in the words familiar, collier, 



LESSON XII. 91 



companion, savior, virtue, nature; but when preceded 
by s, t, or z, the terminations ial, ier, ion, ure, etc., take 
the H , or Qj , as in the words brasier, gtazier, pressure, 
measure, cessation, fusion, ambrosial: 



Rem. — The sound of ch, so frequently given in the words virtue, 
nature, etc., should be avoided. 



VARIABLE LETTERS. 

34. The leading principles which govern the use of 
the variable letters have already been given. (See Lesson 
IX. ; Sec. 25.) The rules there given should be carefully 
reviewed. The variable curves are written in such a way 
as to aid in making facing curves when joined with either 
consonants or vowels; and the Q is written in that 
direction which secures the most acute angles. 

a. These principles will be best learned by consult- 
ing annexed tables of joinings. (See Tables 34 and 35.) 
The tables are designed principally to show the use of 
these letters when they come in the midst of a word, and are 
subject to modification from both sides. Their use when 
initial has been shown in previous tables. 

b. Where two forms are given, both are used in some 
cases, though only one of them will be found convenient 
in a given word. The best forms will be learned by 
observation. 



92 THE MANUAL OF TAXIGKAFY. 

Table of Joinings — Variable Letters. 




lesson xn. 



95 



WRITING EXERCISE XII. 



NIAGARA. 

Flow on forever, in thy glorious robe 
Of terror and of beauty. Yea, flow on, 
Unfathomed and resistless. God hath set 
His rainbow on thy forehead, and the cloud 
Mantled around thy feet. And he doth give 
Thy voice of thunder power to speak of Him 
Eternally — bidding the lips of man 
Keep silence — and upon thine altar pour 
Incense of awe-struck praise. 

I, wisdom, dwell with prudence, and find out knowledge 
of witty inventions. By me kings reign, and princes decree 
justice; by me princes rule, and nobles, even all the judges of 
the earth. I love them that love me, and those that seek me 
early shall find me. 

Wisdom hath builded her house; she hath hewn out her 
seven pillars; she hath killed her beasts; she hath mingled 
her wine; she hath furnished her table. She hath sent 
forth her maidens. She crieth upon the highest places of the 
city. Whoso is simple let him turn in hither; as to him 
that wanteth understanding, she saith to him, Come, eat of 
my bread, and drink of the wine which I have mingled. 
Forsake the foolish, and live; and go in the way of under- 
standing. 

PSALM xv. 

Lord, who shall abide in thy Tabernacle? Who shall 
dwell in thy holy hill f He that walketh uprightly and 
worketh righteousness, and speaketh the truth in his heart. 
He that back-biteth not with his tongue, nor doeth evil to 



96 THE MANUAL OF TAKIGRAFY. 

his neighbor, nor taketh up a reproach against his neighbor. 
In whose eyes a vile person is contemned, but he honoreth 
them that fear the Lord. He that sweareth to his own hurt, 
and changeth not. He that putteth not out his money to 
usury, nor taketh reward against the innocent. He that 
doeth these things shall never be moved. 

PART II. 

Genial, genius, zealous, jealous, pompous, nervous, odium, 
opium, premium, puritan. Juridical, diagonal, habitual, 
perpetual, unpopular, obsequious, occasional, proportional. 

Salubrious, imperious, mysterious, laborious, inglorious, 
penurious, notorious. 

Question, digestion, exhaustion. Alien, savior, senior, 
million, collier, brilliant, union, battalion, 

Brasier, hosier, fusion, profusion, illusion, dissuasion. 
Glazier, precision, division, elysian, Grecian, gracious, 
conscience, nuptial, factious, cautious, partial, provincial, 
commercial. Substantial, providential, sagacious, incau- 
tious, veracious, capricious, nutritious, pernicious, deficient. 

Artisan, orison, venison, unison, comparison, citizen, gar- 
rison, partisan. Obligation, population, delegation, vindi- 
cation, approbation, abdication, dedication, speculation, 
promulgation, granulation, regulation. Intention, men- 
tion, construction, reduction, adoption, redemption, omis- 
sion, permission, procession, concession, diversion, reflection, 
connection, detraction. 

Continuous, insidious, invidious, contiguous, impetuous, 
precipitous, magnanimous, ungenerous, unanimous. 

Fissure, perjure, conjure, pressure, censure, injure, figure, 
verdure, measure, treasure, pleasure. 



CONCLUDING LESSON. 

Rem. — The preceding lessons contain enough instruction for a 
single course; but the pupil should not pause here and suppose that 
he needs no further instruction. Our language is amazingly fertile 
in its varying modes of expression, and the young writer has many 
things to learn before he can hope to master the language in the use 
of any kind of writing. He has before him all the principles of the 
first style of Takigrafy, but he will be continually learning some- 
thing new in regard to their application. He will need to under- 
stand the true pronunciation of a large number of words ; what let- 
ters to omit and what to retain ; and how to apply the principles in 
cases not mentioned in the preceding lessons. At the risk of repe- 
tition, we add some further instruction on a few things liable to be 
misunderstood. 

DOUBLE CONSONANTS. 

35. As both consonants are written in some cases, 
where two come together, and only one in other cases, the 
student will sometimes need some further direction. The 
writing is based on the pronunciation; so, if this can be 
settled, the true orthography will be clear. 

Double consonants may be referred to three classes: (a) 
Those both of which are clearly pronounced, (b) Those of 
which one only is pronounced, (c) Those of which both 
are pronounced partially, but not fully. 

a. The first class is confined chiefly to compound words, 
as head-dress, rat-trap, book-case; with a few derivative 

97 



98 THE MANUAL OF TAKIGKAFY. 

words, like wholly, foully, keenness. Here both consonants 
are written in Takigrafy. 

b. In this class are consonants which are doubled merely 
to show that the preceding vowel is short, as in loedded, pet- 
ted, and final double consonants, as off, odd. In these cases 
only one of the consonants is retained. 

c. This class is composed of derivative words, in which 
the last letter of the prefix is the same as the first letter of 
the root; as in abbreviate, accrue, address, afflict, allot, 
annex, apply, attract, correct, commute, collect, etc. 

The proper treatment of this class of words is not so easy 
to determine; for in some cases the pronunciation requires 
both letters, and in others it does not. Hebrew scholars 
will find a parallel to this class of words in those Hebrew 
words written with a daggesh forte. 

The instruction of orthoepists on this subject is not very 
definite; but some elocutionists say that in cases of this 
kind the doubled letter is dwelt upon with an added stress, 
but that the organs of speech are not separated so as to 
make two perfect articulations. Now this is clearly the 
case in some words, as in abbreviate, adduce, attract, con- 
nect, afflict, appoint, etc.; but it is not so obvious in all cases. 
We do not take the trouble to say com-mit, com-mon; but 
comit, comon. 

Rem.— In the Common style of Takigrafy we avoid all difficulty 
by dropping one of the consonants, with scarce an exception ; but 
in the Literary style,which is designed to be more accurately phonic, 
it may be well enough to retain both consonants in words where 
they are clearly dwelt upon so as to make the absence of one of the 
letters felt as a loss to the pronunciation, and to omit one of them 
where the pronunciation favors it. But this must be left, for the 
most part, to the taste of the teacher or the purpose of the student. 
In our engraved lessons we have followed the practice of the Com- 
mon style of the art in most words, not wishing to separate these 



CONCLUDING LESSON. Vd 

two styles too far at the present time ; because so many desire to 
make this work merely an introduction to the next that any refine- 
ment of analysis would only hinder their progress. 

36. The instruction given above will apply also, in a 
measure, to those doubled consonants that are formed by 
adding the terminations ly, less, ness, etc., to words ending 
in I or n; as soulless, fully, keenness. But here the ly 
may be distinguished from the less and ness, for the I in 
less and the n in ness are written even in the briefer styles ; 
but the I in the termination ly is generally omitted. It is, 
however, retained in fully, wholly ', and perhaps some 
other words. 



37. Three modes of pronouncing final ed occur, as in 
the words treated, loved, and snatched (snatcht). In the 
first example we have a separate syllable, in the second a d, 
and in the third a t. Some persons get into the incorrect 
habit of writing the ed in all these cases; and some carry 
this bad habit even into the Note-taker's style, where it is 
even more noticeable and offensive. Be careful to write 
the t where ed has this sound. 



"TH" ASPIRATE AND "TH 77 VOCAL. 

38. The vocal th heard in them is much more frequent 
than its aspirate sound, heard in thin. The fault most 
common is that of making the sign for th always heavy. 
It should be light in thing, thick, thumb, oath, author, 
and a score or two of other words in frequent use. 



100 THE MANUAL OF TAKIGRAFY. 



ING, NJ, AND NO. 

39. The letters ng have three sounds, as in the words 
sing, singe, finger. The first is written with the letter Ing; 
the second with En-Ja; the third with Ing-Ga. This di- 
graph presents no real difficulty. A little care, and atten- 
tion to the pronunciation will make the manner of writing 
plain. 

THE OLD SPELLING. 

To make the Takigraflc orthography more easily understood in 
detail, we add a compend of the irregularities of our present orthog- 
raphy. We do not advise the student or teacher to spend much 
time on them. They are not worthy of much attention, for " that 
which decayeth and waxeth old is ready to vanish away ; " but as 
the old orthography is still in use, and students of the art must come 
from that to the true spelling, some notice of its irregularities may 
be useful. 

This section is taken, with some changes, from the fourth edition 
of the " Compendium of Takigrafy," issued in 1857. 

IRREGULAR CONSONANTS. 

40. We treat, first, of the irregularities of the conso- 
nants. The following are regular — that is, they com- 
monly represent but one sound : B, D, J, K, L, M, IV, 
Q, R, and V. Nearly all of them are, however, sometimes 
silent. 

Each of the remaining letters represents more than one 
sound. We treat of them in detail. 

C has three sounds — a hard sound in come, a soft sound 
in city, and the sound of sh in spacious. It is generally soft 
before e, i, and y, and hard before a, o, and u. It has the 
sound of sh in the terminations ceous, cial, cious, etc. 



CONCLUDING LESSON. 101 

F has the sound of v in the word of. 

G has two sounds — a soft sound before-^, i, and y, and a 
hard before a, o, and u. There are, however, many excep- 
tions. G is silent in gnaw, apothegm, sign, etc., and is 
used with a following h to represent the sound of f as in 
laugh. 

H is sometimes silent, and is sometimes used in connec- 
tion with t and s to represent sounds for which we have no 
letters in the common alphabet, as in then, thin, shun. Ph 
has the sound of f. 

Q has the sound of K. 

S has four sounds — a sharp sound as in the word some, 
the cognate flat or subvocal sound in as, the sound of sh in 
mission, and its cognate in measure. 

T in the termination tion has the sound of sh. It is used 
with h to represent the two elementary sounds heard in the 
beginning of the words then and thin. 

W has but one consonant sound. With a preceding 
vowel it generally forms a diphthong. 

Y has but one consonant sound. At the end of words 
and syllables it has the sound of i, long or short. 

Z has three sounds, as in zeal, quartz, and azure. The 
sound of z in azure is sometimes also represented by s. 

^T generally represents two sounds — the sound of h and 
s, as in extreme, or the sound of ga and ze, as in exact. X 
has also sometimes the sound of z. 

SOUNDS REPRESENTED BY TWO LETTERS. 

There are, in the English language, twenty -four conso- 
nantal sounds and only twenty-one letters that are ever 
used to express them. Of these, C, Q, and X represent 



102 THE KAlfUAL Qfr TAKIGKA5Y. 

sounds already represented by other letters. This leaves 
eighteen useful letters to express twenty-four sounds. 
The six simple elementary sounds, which have nt) proper 
representatives, are Zhe, Ish, The, Ith, Ing, and Cha. 
(See the Takigrafic Alphabet.) 

The first (Zhe) is written in our common orthography 
by z or s; the other five are each represented by two letters. 
They are sh, th, ng, and ch. 

Sh has no sound but Ish. 

Th has two sounds — a sharp or aspirate sound in thick, 
and its cognate subvocal in that, as shown in a preceding 
section. 

Ng has three sounds. Besides these sounds, the n and 
g are in some words sounded separately, as in engulf, 
where they have the sounds of En and Ga. 

Ch has three sounds — the sound of Cha in each, of Ka 
in ache, and of Ish in chaise. 

There are other combinations of consonants that repre- 
sent sounds already provided with letters. They are Ph, 
sounded like F and V, or silent; Ch, sounded like Ca, F, 
and K, and in many cases silent; Rh and Wr, sounded 
like R. 

IRREGULAR VOWELS. 

41. All the vowels in the common orthography are 
irregular. They each represent more than one sound. 
One reason of this is found in the fact that we have 
fourteen vowel sounds, and only five vowel letters ; but 
this is not a sufficient reason for such complete confu- 
sion as exists in the use of these letters, as seen in the 
following summary. 



CONCLUDING LESSON. 103 

A has seven sounds — a long sound, as in hate/ a 
short sound in hat/ an open sound in far/ a broad, 
open sound in fall; a medial sound in air/ and stands 
for e in many, and 6 in what, want, etc. 

E has three sounds — a long sound, as in eve/ a short 
in ebb/ and an obscure sound before r, as in person. It 
is generally silent in the end of words. 

/ has three sounds — a long, diphthongal sound in 
fine/ a short in fin/ and a sound more or less obscure 
before r, as in bird. 

O has five sounds — a long sound, as in tone; a short 
sound, as in non/ an open, as in or/ a close, as in 
who/ and the sound of u in son. 

U has five sounds — a long, diphthongal sound in 
tune/ a short in tun/ a close in full/ and the sound of 
e in bury, and i in busy. 

Grouping these sounds together, we have E, A, Ai, 
Ah, i, e, a, Oo, O, Au, 66, u, 6, I, and Ew; to which we 
might add two more diphthongal sounds — Oi and Ow. 

To make the confusion of our common orthography 
still more complete, each of these sounds is expressed 
in several ways, as will be seen in the following exam- 
ples. The letters that represent the sound are italicized. 

E long is represented by e, ea, ee, ei, eo, ey, i, ie, and 
ay, as in the words, eve, ear, heel, conc^'t, people, key, 
p^'que, ^pier, and quay. 

A long is represented by a, ai, ao, au, ay, e, ea, ei, ey, 
ue, aigh, eigh, as in the words ale, aid, gao], gauge, gay, 
fete, great, veil, they, bouq^t, straight, eight. 

Ah is represented by a, Ah, and ua, as in are, Noah, 
and guard. 



104 THE MANUAL OF TAKIGRAFY. 

Ai is represented by a, ai, e, and ei, as in the words 
care, air, there, and tlWr. 

I short (1) is represented by ee, i, y, o, u, and ui, in the 
words in, system, been, women, b^sy, and circm't. 

E short (e) by e, ea, a, ai, ay, and ue, as in met, head, 
any, said, says, and guess. 

So, also, the following, as illustrated by the annexed 
examples : 

Au, — all, cause, laws, ought, slaughter, dialogue, 
order. 

Oo, — who, soot, soup, through. 

O, — note, oat, though, howl, door, four, beau. 

O short, — on, hough, what. 

06 short, — foot, full, legion, dungeon. 

U short, — ^p, enough, love. 

It will be seen that, in the case of vowels, as well as 
consonants, we express simple elementary sounds by two 
letters ; in a few instances by three. The necessity for 
this arises from the impossibility of expressing fourteen 
sounds properly by five letters. But this deficiency of 
vowel letters is more than supplied by the following 
digraphs, which are employed to represent simple sounds — 
aa, ae, ai, ao, au, aw, ay, ea, ee, ei, eo, ey, ie, oa, oe, oo, 
on, ow, ua, ue, ui, uy; supplemented by the following 
trigraphs: eau, eou, iou, besides aigh, eigh, ough, etc. 
As in the words Aaron, fail, gaol, Gaul, law, and lay; 
head, heed, forfeit, bludgeon, they, sieve, oat, hoe, door, 
soup, bow, guard, guess, circuit, Guy, beau, gorgeous, 
religious, straight, eight, though, etc. 

Most of these digraphs have, also, several sounds. Ai, 
for instance, has different sounds in the words air, fail, 



CONCLUDING LESSON. 105 

said/ so, also, ea in mead, meadow, heart, and earth/ 
ou in about, trouble, sought, soup, bough/ and ough in 
though, thought, trough, cough, hough, hiccough, bough, 
etc. 

Thus it will be seen that, to represent the fourteen 
simple vocal sounds, we have five simple vowels, twenty- 
three digraphs, three trigraphs, and three combinations 
of four letters each — thirty-four in all. It will be noticed 
farther that no one of these thirty-four letters, or combi- 
nations of letters, has any definite sound that can be 
relied upon, but represents variously from two to eight 
or nine sounds each. 

DIPHTHONGS AND TRIPHTHONGS. 

The long sounds of the vowels / and JJ are diph- 
thongal. Other diphthongal sounds are represented by 
two vowels, both of which are sounded. They are oi, ou, 
ow, as in oil, out, how. Some trigraphs represent diph- 
thongal sounds, as iew in view, and ieu in lieu. 

THE RESULTING ORTHOGRAPHY. 

In summing up this hasty view of the English alpha- 
bet, and the orthography resulting from it, we may say 
that it is, — 

1st. Deficient; wanting letters for the sounds of Ish, 
Zhe, Ith, The, Ing, and Cha/ and at least nine out of 
fourteen vocal sounds. 

2d. Ambiguous ; on account of supplying the want of 
proper letters by three times the needed number of 
digraphs and trigraphs for the vocal signs, and an indefi- 
nite number of consonantal combinations. 



106 THE MA^UAi OF TAKIGKAFY. 

3d. Inconsistent; in representing the diphthongal 
sounds I and U (long) by single letters, and using, in 
numerous instances, two, three, or four letters, to express 
one simple elementary sound; and in making the same 
letters represent both vocal and consonantal sounds, as 
W and Y do. 

Of the resulting orthography, we may say that the 
spelling is no guide to the pronunciation; that if its 
design had been to disguise sounds instead of expressing 
them, it could not have been more happily adapted for 
the purpose; that the redundancies and deficiencies of 
the alphabet are needlessly increased by the use of silent 
letters without method, order, or law ; that caprice deter- 
mines the letters which shall be employed in any given 
case, without any regard to necessity, convenience, beauty, 
or reason; that it is not an orography at all, but a 
cacogrs^phj or pseudography ; that it is a nuisance, a 
stupendous folly, a hoary, chaotic ruin, — a curse to the 
English language, and a disgrace to the people that 
use it. 

To guide the student as far as possible, in applying 
the Takigrafic letters, we give on the next page a table of 
the signs appropriate to the various sounds of those let- 
ters which are most likely to be troublesome; and append 
a writing exercise from which most of the silent letters 
are omitted. 



CONCLUDING LESSON. 



107 



THE PROPER PHONIC SIGNS 

FOR THE DIFFERENT SOUNDS OF THE COMMON LETTERS. 
VOWELS. 



A as in 



u a 



E " 
I " 



ate . . . 
fat ... 
fall . . 
far . . . 
want . 
ask . . 
air . . . 
mete . 
met . . 
mite . . 
mit .. 
pique 
alien . 



C as 

u (( 

K (( 

F " 

u u 

G " 

u u 

S " 

u u 



T 
Ti 



Come, 
city . . 
ocean 
fee.... 
of.... 



go 

age 

some. . . . 

is 

measure 
mission, 
note .... 
notion. . 
fox 



O as 



oo 

u 
OW 

U 



Y 

oy 



in note. . 

" not... 

" son... 

" mood. 

" foot . . 

" now . 

" low.. 

" mute . 

" full.. 

" but... 

" pity.. 

" you... 

" boy . . 



CONSONANTS. 



X as 


in exact 

" Xerxes 


1 


Z " 


" zone 

" azure 

DIGRAFS. 




Ph as in sphere 




« ( 


' " Stephen 




Qu ' 


' " queen 




Ng ' 


' " sing 

1 " singe 




a < 


' " longer 




Th ' 


' " thine 




« t 


' " thin 




Wh ' 


1 " why 





108 



THE MANUAL OF TAKIGKAFY. 



THE NEW SPELLING. 

41. Some steps have been taken, both in England and 
this country, to introduce a more rational mode of spell- 
ing. Without attempting, here, to settle a question in 
which two of the greatest nations of the world are inter- 
ested, and which must yet be discussed by the repre- 
sentatives of a hundred millions of people, we give, on 
the following pages, an exercise spelt with as much 
regard to fonetic accuracy as seems to be consistent with 
a just conservatism and the use of an alphabet inadequate 
to the wants of the language. Some new, or rather 
modified, letters are, however, introduced, which will be. 
understood from the following hey. The reason of giving 
several representations of each of the long vowel sounds 
is to preserve, so far as consistent with the degree of 



A-long, 
a in far, . 
a- short, 
E-long, . 
e- short, 
I-long, 
i- short, 
O-long, 
o-short, 
o in order, 
Oo-long, 
U-long, 
u- short, 
u in full, 
Th in then, 
th in thin, 
Sh, 
Z in azure, 



Ul, I 


lit? SJJtJlllllg I1UW 111 UStJ. 




KEY. 




REPBE SBNTATIVE S . 




a, ai, ay, a-e (e-final). 
. . . . a, aa, ah. 




. " . . . . a. 




e, ea, ee, e-e (e-final). 




e. 




I, y, ei, i-e (e-final). 




.... i, y. 
. Q, oa, o-e (e-final. 




o. 




. o\ 




... oo, 11. 




eu, ew, u, u-e (e-final). 




u. 




u, do. 




. . . . . th. 




th. 




. . . . . sh,J. 




3- 



CONCLUDING LESSON. 109 

C and g are hard, as in come, go; and other letters have 
their most common sounds. 

Rem, — Words in unaccented syllables have frequently an obscure 
sound, and are omitted in writing Takigrafy; but it has been 
thought best to retain most of them in the common spelling. 

Note. — The new letters in the " General Writing Exersize " given 
on page 110 are too small to justify well with the other letters. 
This interferes somewhat with the beauty of the page, but will not 
greatly interfere with the object in view in their introduction. The 
new letters are not devoid of beauty, and, properly adjusted to the 
old letters, would change the appearance of the page but slightly. 



110 THE MANUAL OF TAKIGRAFY. 



GENERAL WRITING EXERS1ZE. 



Now. — "Now" iz the constant silable ticing from the 
cloc ov time. "Now" iz the wochwurd ov the wize. 
"Now" iz on the baner ov the prudent. Let us keep this 
little wurd aulwayz in our mind. Doo not procrastinate. 
" Now" iz ourz; "then " may never be. 

Habits. — Like flakes ov sno that faul unperseevd upon 
the erth, the seemingly unimportant events of life sucseed 
wun anuther. Az the sno gatherz together, so ar our 
habits fecrmd. No single flake that iz aded tu the pile pro- 
dtisez a sensible chanj; no single acfn creates, however it 
may egzibit, a man'z caracter; but az the tempest hurlz the 
avelanj down the mountin, and overwhelmz the inhabitant 
and hiz habitafn, so pajn, acting upon the elements ov 
mischeef, which pernijus habits hav braut together by 
imperseptible accumulajn, may overthro the edefis ov truth 
and vertyu. 

Beuty. — Beuty iz an awl-pervading prezens. It unfoldz 
in the numberles flowerz ov the spring. It wavez in the 
branchez ov the treez, and the green bladez ov gras. It 
haants the depths ov the erth and sea, and gleamz out in 
the huez ov the shel and the pre/us stone. And not only 
theze minute objects, but the ojn, the mountinz, the cloudz, 
the hevenz, the starz, the rizing and setting sun, aid overflo 
with beuty. The Yiinivers iz its temple; and thoze men hoo 
ar alive tu it cannot lift thair eiz without feeling themselvz 
encumpast with it on every side. 

I hav spoken only ov the beuty ov natyur, but how much 
ov this misterius charm iz found in the elegant arts, and 
espejaly in literature? The best books hav most beuty. 



CONCLUDING LESSON. Ill 

The gimtest truths ar rongd if not linkt with beuty, and 
thay win thair way most Jtirely and deeply intu. the sol, 
when array d in this thair natural and fit attire. No man 
reseevz the true cultyur ov a man in hoom the sensibility tm 
the beutiful iz not cherisht; and I no ov no condijn in life 
from which it shud be excluded. — Charming. 

Howard, the Filanthropist. — He has visited au\ 
Europe — not tu survay the sumptyuusnes ov palasez, err the 
statelines ov templez; not tu make accurate megrments ov 
the remains ov anjent grandyur, nor tu form a scale ov the 
curiositiz ov modern art, ner tia collect medals, err collate 
manyuscripts, but tu dive intu the depths ov dunjunz, tu 
plunj intu the infecjn ov hospitalz, tm survay the manjnz ov 
soro and pain; tu take the gaje and dimenjnz ov mizery, 
deprejn and contempt; tu remember the fergoten, tu 
attend tia the neglected, tu vizit the forsaken, and com- 
pare and collate the distreses ov au\ men in au\ cuntriz. 
Hiz plan iz original; it iz az ful ov jenyus az ov humanity. 
It woz a voyaj ov discuvery, a sercumnavigajn ov charity. 

— Burke. 

The Impracticable, Undesirable. — I no it iz comun for 
men tia say that such and such thingz ar perfectly rite — 
very dezirable — but that, un forty unately, thay ar not prac- 
ticable. O, no, sir, no! Thoze thingz which ar not prac- 
ticable ar not dezirable. Ther iz nothing in the wurld 
really benefijl that duz not lie within the reach ov an 
infermd understanding and a well directed pursuit. Ther 
iz nothing that God haz jujd good for us that he haz not 
given us the means tia accomplish, both in the natural and 
moral wurld. If we cry, like children, f©T the moon, like 
children we must cry on. —Ibid. 



112 THE MANUAL OF TAKIGRAFY. 

The Important ov Verasity. — Let it aidwayz be bern 
m mind that he hoo noingly uterz whot iz fauls telz a lie, 
and a lie, whether white or ov eny uther culer, i« a violajn 
ov the comand ov that God by hoom we must be jujd. 
And let us remember that ther iz no vise which more eazily 
than this stupefiez a man'z con Jens. He hoo telz liez fre- 
quently wil soon becum an habityiial liar; and an habit- 
yual liar will soon looz the power ov redily distinguishing 
between the consepjnz ov hiz imajinajn and the recollecfnz 
ov hiz memory. Let every wun, therefore, beware ov the 
most distant approachez tu. this detestable vise. A volyum 
mite eazily be riten on the mizery and los ov caracter which 
hav gron out ov a single lie; and anuther volyum ov ilus- 
trajns ov the moral power which men hav gaind by means 
ov no uther prominent attribute than that ov bold, unshrink- 
ing verasity. — Way land. 

Lerntng to Write. — The winter I woz nine yearz old 
I made anuther advans tord the top ov the lader. I had 
sucseeded in becuming the oner ov a pen-nife, and had 
selected wun ov the fairest quilz out ov an enormus bunch, 
Haaf a quire ov foolscap had bin folded intu the shape ov 
a riting book by the maternal hand, and cuverd with brown 
paper nearly az thic az a sheep-skin. Behold me now, on 
the ferst Mundy in Desember, starting for skool with my 
new and clean riting book butond under my jacet, my 
ink-stand in my pocet, a bundle ov nesesary books in wun 
hand, and in the uther my ruler and swinging plumet, 
which I flurisht in the air, and around my hed, til the 
sharpend led made its ferst mark on my on fase. My long 
white fether goos-quil woz twisted intu my hat-band, like a 
plumy baj ov the cbistincfn tu which I had arrived; and the 
important enterprize before me. 



CONCLUDING LESSON. 113 

On arriving at the scool hous I took a seat hler up, and 
more onurable than the wun I ocyupied the winter before. 
At the proper time, m y rlting book, which with my quil I 
had handed the master on entering, woz returned tu me 
with the copy set, the paper ruled, and the pen made. My 
copy woz a single strait mark at the ferst corner ov my 
sheet ov paper. A strait mark! hoo cud not make so sim- 
ple a thing az that? thaut I. I waited, however, tu see 
how the boy next til me, a beginer awlso, shud sucseed, az 
he had got redy a moment before me. Never shai I forget 
the ferst kirografical exploit ov this yooth. That inky 
imaj wil never fade from my memory, so long az a single 
trase ov erly experiens iz left on its tablet. The fact iz, it 
woz an epok in my life. Summing grait woz tu be dun, 
and my attenjn woz intensly awake tu whotever had a 
baring on this new and important tryal ov my powerz. I 
laokt tu see a mark az strait az a ruler, having its for cer- 
nerz az distinctly defind az the angles ov a paralelogram. 
But (x> me! whot a spectacle! Whot a shoking contrast 
tu my antisipajns. That mark had az meny crooks az a 
ribond in the wind, and nearer ait anglez than for; and its 
too sidez wer nearly az ruf and az nocht az a fine hand- 
saw, and, indeed, the mark sum whot resembled it in width; 
for the felo had laid in a store ov ink suffijent tu last the 
jurny ov the hoi line. "Shame on him," sed I, internaly; 
" I can beat that, I no." I began by seting my pen fermly 
on the paper, and 1 braut a mark haaf way down with 
rectilinear presign. But by this time my hed began tu 
swim, and my hand tu tremble. I woz, az it wer, in 
vacansy, far belo the uper ruling, and az far abuv the loer. 
My self-posejn faild; my pen diverjd tu the rite, then tu the 
left, crooking au\ the remainder ov its way with az meny 
zigzagz az cud wel be in so short a distans. Mine woz az 



114 THE MANUAL OF TAKIGRAFY. 

sad a failyur az my nabor'z. I cuverd it over with my 
fingers, and did not jog him with a " See thare," az I had 
vainly antisipated. 

So much for painz-taking — now fer chans. By g#od luc, 
the next effort woz quite sucsesful. I now dasht in for 
beter or wurs, til in wun haai our I had cuverd the hoi 
paje. In the afternoon a similer copy woz set, and I dasht 
on agen az if I had taken so much riting by the job, and 
my only object woz tu save time. Now and then ther woz 
quite a repyutable mark; but alas fer him hooz persepjn ov 
the beutiful woz particyularly delicate, shud he get a 
glimps ov theze slouz ov ink! 

The third morning my copy woz the ferst element ov the 
m and w, enr whot in burlesk iz cawld a A<5ok. On the forth 
I had the last haaf ov the same letterz, err the tramel; and 
indeed thay wer the similitudez of hooks and tramelz fergd 
in a cuntry plenteus in lurn, and by the yungest apprentis 
at the hamer and anvil. 

In this way I went thru au\ the smawl leterz, as thay ar 
cauld. Then I must lern tu. make the capitals, before enter- 
ing upon joining hand. Capital leterz! Thay wer capital 
offenses agenst au\ that iz graceful, indeed desent, yae tol- 
erable, in that art which iz so capable ov beutiful forms 
and proporfns. 

I came next tu joining hand, about tfAree weeks after my 
comensment — and joining hand indeed it woz. It seemd 
az if my hooks and tramelz wer over-heated in the ferj, 
and wer melted intu wun anuther. The shapeles masez so 
clung tugether at points whair thay aut to have bin 
separat, and so very far wer thay from au\ rezemblans tia 
conjoind, yet distinct, and well-def ind caracterz. 

Thus I went on, a perfect litle prodigal in the expendit- 
yur ov paper, ink, pens and time. The ferst winter I 



CONCLUDING LESSON. 115 

splasht too, and the next three rlting books, with inky pud- 
dlez, in lerning cars hand; and, after aid, I had gaind not 
much in penmanship, exept a workmanlike ashurans and 
selerity ov execufn, such az iz natural tu. an old hand at 
the biznes. — Burton. 



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$ 



Takigraflc Publications. 



THE MANUAL OF TAKIGBAFT. 

A treatise on the First Style of the Art, " Adapted for Use in High Schools and 
Academies, with some Exercises Suitable for Children.^ This text-book, 
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teacher in imparting, and to the student in acquiring, a thorough knowl- 
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Price — Board bound, $ 1.25 

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